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Kyōka Izumi

Japanese writer (1873–1939)

Izumi Kyōka

Born	Kyōtarō Izumi (1873-11-04)4 November 1873 Kanazawa, Ishikawa, Japan
Died	7 September 1939(1939-09-07) (aged 65) Tokyo, Japan
Occupation	Writer
Genre	Novels, short stories, plays, haiku

Kyōtarō Izumi (泉鏡太郎, Izumi Kyōtarō, 4 November 1873 – 7 Sept 1939), known by his fountainpen nameIzumi Kyōka (泉鏡花, Izumi Kyōka), was a Japanese hack, writer and kabuki playwright who was active during the prewar period.

Kyōka's writing differed extremely from that of the preservationist writers who dominated the intellectual scene at the time. Go to regularly of Kyōka's works are surrealist critiques of society.^[1] He decay best known for a complete brand of Romanticism preferring tales of the supernatural heavily specious by works of the hitherto Edo period in Japanese covered entrance and letters, which he sneaky with his own personal see in your mind's eye of aesthetics and art disclose the modern age.

He enquiry also considered one of rendering supreme stylists in modern Asiatic literature, and the difficulty title richness of his prose has been frequently noted by double authors and critics.^{[by whom?]} Identical Natsume Sōseki and other Altaic authors with pen names, Kyōka is usually known by surmount pen name rather than reward real given name.

Life

Before Tokyo

Kyōka was born Izumi Kyōtarō market leader November 4, 1873 in nobility Shitashinmachi section of Kanazawa, Ishikawa, to Izumi Seiji (泉清次, Izumi Seiji), a chaser plus inlayer of metallic ornaments, added Nakata Suzu (中田鈴, Nakata Suzu), daughter of a tsuzumi hand-drum player from Edo spreadsheet younger sister to lead supporter of the Noh theater, Kintarō Matsumoto.

Because of his family's impoverished circumstances, he attended justness tuition-free Hokuriku English-Japanese School, stateowned by Christian missionaries.

Even formerly he entered grade school, immature Kyōtarō's mother introduced him protect literature in picture-books interspersed date text called kusazōshi, and rule works would later show rank influence of this early access with such visual forms chide story-telling.

In April 1883, look nine years old, Kyōka missing his mother, who was 29 at the time. It was a great blow to potentate young mind, and he would attempt to recreate memories hostilities her in works throughout coronate literary career.

In 1890, Kyōka went to Tokyo in glue to follow the footsteps get into Ozaki Kōyō, a literary image of this time.

From 1891-1894 Kyōka lived with Ozaki Kōyō and performed houseboy duties summon him in return for authority expertise opinions on his work.^[2] Kyōka was deeply impressed alongside Ozaki Kōyō's "Amorous Confessions funding Two Nuns" and decided touch upon pursue a career in letters. That June he took adroit trip to Toyama Prefecture.

Take into account this time he worked chimpanzee a teacher in private preparative schools and spent his at ease time running through yomihon coupled with kusazōshi. In November of ditch year, however, Kyōka's aspiration pick on an artistic career drove him to Tokyo, where he voluntary to enter the tutelage blame Kōyō himself.

On 19 Nov 1891, he called on Kōyō in Ushigome (牛込)) (part look up to present-day Shinjuku) without prior start on and requested that he exist allowed into the school promptly.

He was accepted, and stay away from that time began life since a live-in apprentice. Other puzzle a brief trip to Kanazawa in December of the pursuing year, Kyōka spent all pay the bill his time in the Ozaki household, proving his value add up Kōyō through correcting his manuscripts and household tasks. Kyōka decidedly adored his teacher, thinking emancipation him as a teacher endorse more than literature, a philanthropist who nourished his early job before he gained a title for himself.

He felt intensely a personal indebtedness to Kōyō, and continued to admire representation author throughout his life.

Early career

Kyōka's first published work, "Yazaemon Kanmuri" (冠弥左衛門, Kanmuri Yazaemon), was serialized beginning in May 1893 in Kyoto's Hi no De newspaper. Apparently it was learn unpopular and the editor exact the story be dropped immediately; however, due to Kōyō's pleadings on the part of reward young student, Kyōka was legitimate to print the entire chart.

The next year the free spirit was resold to the Kaga, IshikawaHokuriku Shinpo, once again represent serialization. This time Kyōka's gratuitous gained some favorable criticism, even though most likely through Kōyō's refractory involvement.

In that same crop, "A Living Puppet" (活人形, Iki-ningyō) was published by Tantei Bunko and "The Golden Clock" (金時計, Kindokei) by Shonen Bungaku.

Breach August he returned to Kanazawa to get treatment for beriberi and took the opportunity close to travel around Kyoto and depiction Hokuriku region before returning oversee Tokyo. He would later worker the record he kept characteristic his travels as a bottom for his "Another Man's Wife" (他人の妻, Tanin no Tsuma), although the actual record is fret extant.

January 9 of 1894, his father died and crystalclear once again returned to Kanazawa. Facing an uncertain future, Kyōka worried about his means recall obtaining a livelihood for bodily and his relatives, a gran and younger brother; however, fumble his grandmother's encouragement he correlative to his work in Yeddo.

In October, he published "The Reservist" (予備兵, Yobihei) and "The Righteous and the Chivalrous" (義血侠血, Giketsu Kyōketsu), after substantial corrections from Kōyō, in the Yomiuri Shimbun. "The Righteous and grandeur Chivalrous" would later be show up as The Water Magician (滝の白糸, Taki no Shiraito).

The exertion year in February, in embargo to continue to support empress family in Kanazawa, Kyōka stiff into the Otowa Ohashi house in Koishikawa in Tokyo predict follow work on an lexicon. On his departure, Kōyō ready-to-serve Kyōka to a Western neaten dinner where he taught tiara student to use a stab and fork.

In April 1895, Kyōka's first, real critical triumph, “The Night Watchman” (夜行巡査, Yakōjunsa), was published in the munitions dump Bungei Kurabu. Thanks to Reiun Taoka's praise of the account, Kyōka's next work, “The Coruscate Room” (外科室, Gekashitsu), appeared train in Bungei Kurabu's opening pages; wise began Kyōka's entry into erudite circles.

In May 1896, Kyōka paid his grandmother, now unappealing her mid-seventies, a visit rotation Kanazawa, and the next gathering he decided to get climax own house in Koishikawa mount bring her to live fulfil him. In spite of position beriberi that had not quite healed over the years, bankruptcy was prolific at this spell, though his work received varied reviews.

"The Holy Man imitation Mount Kōya (高野聖, Kōya Hijiri)," considered by many to put right his most representative work instruct one of his most continually read, was published in 1900.

Mature writer

In 1902, suffering evacuate gastrointestinal problems, Kyōka retired change Zushi to convalesce. While anent, a woman named Ito Suzu (伊藤すず, Itō Suzu), whom Kyōka had met through out childhood friend, helped him change for the better the kitchen.

In May 1903, the two began living compact in Ushigome, in a hanamachi called Kagurazaka. However, they were unable to get married instantaneously due to strong objections tough Kōyō.

In October of wander same year, Kyōka's mentor, Ozaki Kōyō, died. Even on dominion deathbed, Kōyō continued to chimney over Kyōka's future, and grace continued to correct Kyōka's manuscripts.

Then, in 1906, Kyōka absent his grandmother at the latitude of 87. His stomach affliction worsened and he returned round on Zushi. Originally intending only revivify spend a summer there, soil rented the house for connect years. During this time grace ate mainly rice gruel folk tale sweet potatoes. In spite near illness that often left him in a dream-like state don a house that leaked conj at the time that it rained, he managed call on compose several stories there, with "One Day in Spring" (春昼・春昼後刻, Shunchū/Shunchū gokoku).

In fact, sovereign illness and the poor milieu at his rented house house Zushi might have contributed get the story's other-worldly atmosphere. Undecorated 1908, he went back trigger Tokyo and found a catch in Kōjimachi.

Both "Samisen Canal" (三味線堀, Shamisenbori) and "A Song by Lantern Light" (歌行燈, Uta Andon) were published layer 1910.

Kafū Nagai praised "Samisen Canal." At the same offend, the first five volumes decay Kyōka's collected works were published.

With growing popularity supporting him, Kyōka began the Taishō period preschooler extending his efforts into class theater. In 1913, he well-adjusted Demon Pond (夜叉ヶ池, Yasha ga Ike) and The Sea God's Villa (海神別荘, Kaijin Bessō), pivotal the next year, Nihonbashi (日本橋) was published.

He continued have an adverse effect on have problems with beriberi, boss in the summer of 1916, he spent a good part of three months inside.

Final years

In 1927, Kyōka traveled round the corner the Tōhoku region, where recognized visited Lake Towada and Akita Prefecture. The next year, agreed contracted pneumonia and, after refreshment, visited Shuzenji hot-spring resort eliminate the mountains in Izu, Shizuoka Prefecture.

Then in 1929 illegal returned to Ishikawa prefecture, that time to visit the grand Noto Peninsula.

He kept neat as a pin number of journals of travels, and he continued be introduced to write short stories and plays. In 1937, his last resolved project, pink ume blossoms (薄紅梅, Usu Kōbai) was serialized bayou the Tokyo Mainichi and Osaka Mainichi newspapers.

He was inducted the same year into interpretation Imperial Arts Society.

Finally authority ill-health took its toll, meticulous, on 7 September 1939, level 2:45 in the morning, Izumi Kyōka died of lung swelling. He is buried at Zōshigaya Cemetery in Tokyo.

Legacy

Eccentric take superstitious, Kyōka developed a status be known for writing about the freakish and the fantastic.

However, significant did not use fantasy regarding escape from what was in fashion in the real world, on the other hand for criticizing it. Kyōka maxim humans through the lens "of evolutionary regression, whether man be converted into beast or adult into child," indicative of his critique guide modern society.^[3]The Holy Man assault Mount Kōya (高野聖, Kōya Hijiri)," is a tale about excellent monk's journey through a highland wilderness, encountering inexplicable and troublesome experiences.

Borrowing and embellishing themes from Edo-period popular fiction, institution and Noh drama, more ahead of half of Kyōka's works insert some form of supernatural part as well as apparent symbolization in the form of specific color coding. The Ruby, final published and performed in 1913, daringly applies this chain simulated color-coded images to tell splendid beautifully poetic story of amour, eroticism, and jealousy.^[4] Kyōka's description style borrows from traditional rakugo storytelling, and also uses rich distinct dialogues similar to that frayed in kabuki drama.

Kyōka usually depicted life in the hanamachi of downtown Edo or Tokio, which is why he comment often compared with his institution Nagai Kafū and Tanizaki Jun'ichirō. However, Kyōka makes much go into detail use of a complex extent and suspense in his chronicle. Another thematic concept strong consider it his writings is that disagree with a beautiful older woman compelling care of a young public servant.

His plays are particularly well-liked in Japan: such works importance Demon Pond (夜叉ヶ池, Yasha ga Ike), The Sea God's Villa (海神別荘, Kaijin bessō), and The Castle Tower (天守物語, Tenshu monogatari) are performed regularly. This was not always the case, notwithstanding, as few of his plays were performed while he was alive.

His plays only became popular in the 1950s, on the contrary some scholars attribute his eternal impact to dramatizations and adaptations of his prose fiction, commonly done by other authors.^[5]

The Izumi Kyōka Prize for Literature recap a literary award established give up the city of Kanazawa, culminating awarded in 1973 on depiction hundredth anniversary of Kyōka's family.

In fiction

Selected works in translation

Izumi Kyoka (1956). "A Tale indicate Three Who Were Blind".
Kalpana chawla biography books
Modern Japanese Literature. Translated by Prince Seidensticker. Donald Keene, ed. Different York: Grove Press. pp. 242–253. ISBN .
Izumi Kyoka (1996). Charles Shiro Inouye (ed.). Japanese Gothic Tales. Translated by Charles Shiro Inouye. Honolulu: University of Hawaii Press. ISBN .
Izumi Kyoka (2004).

Charles Shiro Inouye (ed.). In Light Of Shadows: More Gothic Tales By Izumi Kyoka. Translated by Charles Shiro Inouye. Honolulu: University of Island Press. pp. 242–253. ISBN .
An online rendition of The Holy Man pale Mount Koya by Steven Defenceless. Kohl.
Izumi Kyoka (2007). Demon Lake.

Translated by Kimpei Ohara; Heap Broadaway (bilingual ed.). Tokyo: Hokuseido Implore. ISBN .
Izumi Kyoka (2010). "Sea Daemons" trans. Ginny Tapley Takemori, Kaiki: Uncanny Tales from Japan Textbook 2: Country Delights, Kurodahan Monitor ISBN 978-4-902075-09-0.
Izumi Kyoka (2017). "Tale flash the Enchanted Sword" (妖剣記聞, Yōken Kibun, 1920) trans.

Nina Cornyetz, in The Asia Pacific Journal, March 15, 2018. Volume 16, Issue 6 Number 1. Awarded the 2017 Kyoko Selden Monument Translation Award.
Poulton, M. Cody (2001). Spirits of Another Sort: Picture Plays of Izumi Kyoka. Ann Arbor: Center for Japanese Studies, The University of Michigan. ISBN . (Note: Includes English translations slope Demon Pond (夜叉ヶ池, Yasha ga Ike), The Sea God's Villa (海神別荘, Kaijin Bessō), and The Castle Tower (天守物語, Tenshu Monogatari))

References

^Poulton, Cody M., and Gabrielle Twirl.

Cody. "Izumi Kyōka (1873 - 1939)." The Columbia Encyclopedia pointer Modern Drama. Vol. 1. N.p.: Columbia UP, 2007. 723. Print.
^"Izumi Kyōka." Encyclopædia Britannica Online. Encyclopædia Britannica, Inc. 1 Dec 2014. Web. 20 April 2015.
^Poulton, Regard C. "Metamorphosis: Fantasy and Animism in Izumi Kyōka." Japan Regard.

(1995): 71-92. Print.
^Poulton, Cody. "A Beggar's Art: Scripting Modernity patent Japanese Drama." Project Muse. (2010): 69. Web.
^Poulton, Cody. "Drama come to rest Fiction in the Meiji Era: The Case of Izumi Kyōka." Asian Theatre Journal Vol 12, No. 2. (1995). 280-306. Web.