sequence

The second volume of Ai Luo Xiankejun's creative collection is "The Last Sigh", which was published by Cong Wenge in Tokyo, Japan in early December last year, and the content is this fairy tale drama "Peach-colored Clouds" and two short fairy tales, one is "The King of the Sea and the Fisherman", and the other is "Two Little Deaths". The third article has been translated by me and introduced to China in the first month of this year.

However, the author's intention was to let me translate "Peach-colored Clouds" earlier: because he himself felt that this one was better than the previous works, and he wanted to give it to the Chinese youth as soon as possible. But it's a problem for me. The Japanese language is very elegant, and the author is good at capturing his beauty and strengths, which makes me lose the ability to communicate.

However, in April, in order to save himself from the painful plan of breaking the appointment, he finally made up his mind to open the translation, and as expected, at least half of the beauty of the original work was ruined, and it became a failed work; Those who can explain themselves are just "better than nothing". But its content should always be there, which may be able to comfort the reader's heart a little.

As for the meaning, it is probably possible to go into detail. Because no matter who you are, in the call sign of the wind and snow, in the discussion of flowers, and in the song and dance of insects and birds, you will be able to hear the words of Mother Nature more loudly, and see the fate of the marmot and Haruko more sharply. There is no other language in the world, and it is more clear than the poet who draws his heart and dreams in words.

Before translating, Mr. Cheng S.F. lent me a detailed copy of the manuscript that had been prepared for reprinting, so that I could correct many mistakes in the old prints; during the translation, Mr. S.F. always instructed me so that I could understand many difficult points; and when the first draft was printed on the "Morning Post Sub-engraver", Sun Fuyuanjun carefully corrected it; At the end of the translation, the author added four more lines of the White Bird's song to make the book the most complete; I'm all grateful.

My translations of the names of animals and plants are very messy, and I have a small note attached to the end of the volume, which I hope the reader will refer to.

On July 2, 1922, the school was re-edited and recorded.

Write down the translated names of the characters in the play

As a last resort, I had to adopt a different approach to the names of plants. The gist is:

First, the use of Chinese names as found in the book. Such as dandelion (Ta

axacum of^fici

ale), Viola pat

i

ü va

．chi

e

sis), Rodge

sia podophylla), bush clover (Lespedeza sieboldi), swallow flower (I. sieboldi).

is laevigata), jade cicada flower (I

is sibi

ica va

． o

ie

^talis) and so on. In addition, there is still a lot.

Second, use Chinese names that are not found in the book. Such as incense under the moon (Oe

othe

a bie

is va

． Lama

kia

a), in Japan it is called evening primrose, and many of our translations have followed it, but now it follows the name of Beijing.

Third, China still uses Japanese names even though it has names. This is because the beauty and ugliness are too different, and the beauty of the work will be damaged when it is turned over. Such as the girl flower (Pat

i

ia scabiosaefolia) is the defeat sauce, co

valla

ia majalis) is deer hoof grass, not turned. There is also Pha

bitis hede

acea) blooms in the morning, Caly-stegia sepium blooms during the day, and Lage

a

^ia vulga

is) late blooming, if it is changed to morning glory, spiral flower, and squeez, it will be tasteless and will not be turned. As for the Fushou grass (Ado

is ope

i

a va

．dahu

ica) is the side calendula or primrose, primrose (P

imula co

tu^soides) is a lotus flower, which could have been translated, but because it was too tired and the same remoteness, it was not even translated.

Fourth, China used the Japanese name for nothing. Such as Clematis he-

acleifolia va

．sta

s), daisies (Bellis pe

e

is) Yes. But one of them translates the meaning, that is, the snow-breaking grass was originally the snow mowing grass (P

imula Fau

iae）。

Gave birth to one, that is, the white reed is the so-called Liu Xuan (Themeda Fo) in Japan

skalli va

．japo

ica）。

Fifth, the meaning of translating Western names. For example, forget-me-not grass (Myosotis palust

is) Yes.

Sixth, the transliteration of Western names. Such as hyacinth (Hyaci

thus o

ie

-talis), Co**os bipi

atus) is. Dahlia va-

iabilis) is also known as Dali chrysanthemum in southern China, and is now transliterated because it is afraid that people will mistake it for a chrysanthemum produced in Dali County, Yunnan Province.

The name of the animal is less problematic, but it also uses a Japanese name: the rain frog (Hyla a).

bo

ea）。 Rain frogs, very small bodies, turquoise or gray, will also turn gray-brown, with black bubbles on the tips of the toes, can use the above trees, will sing when it rains. In Chinese books, it is called rain clams or tree clams, but it is too unusual to understand as easily as rain frogs.

Groundhog (Talpa eu

I don't know if it's the mole that "drinks from the river but has a full stomach" in ancient Chinese books, or the vole that Beijing reveres as the "god of cang", but that's not right. In short, this is a genus of rats, with a flat and fat body, with a reddish pointed beak and pale red feet, small in front and large in the back, moving forward with soil, living in the soil close to the field, eating earthworms, and also harming the roots of plants and trees, as soon as it encounters the sun, it cannot see anything, and cannot move. In the preface to "The Song Before the Dawn", the author said that the favorite of the characters in "Peach-colored Clouds" is the groundhog, which shows that this is an important footstep in this book.

Nanakusa has two types in Japan, spring and autumn. The seven grasses in spring are celery, camellia, rat barrow, chickweed, chicken intestine grass, woad, and radish, all of which are edible. The seven herbs of autumn are in the lyrics of the "Ten Thousand Leaves Collection", which are bush branches, miscanthus grass, kudzu, qu wheat, girl flowers, orchid grass, morning face, and more recently, bellflower flowers, all of which are plants for appreciation.

In the old days, they used the seven herbs of spring to cook porridge, thinking that drinking them could avoid diseases, but at this time there were a few aliases: rat grass called Yuxing, chicken intestine grass called Buddha seat, radish called Qingbai. But in this book, it is just a group of spring plants, and it has nothing to do with the story. The same goes for the seven grasses of autumn.

The so-called delivery husbands, who specialize in distributing newspapers, letters, telegrams, milk, and the like, are mostly young, and there are many young people who have bad births, and there are no such people in China.

Diary of May 4, 1922, revised on July 1.

The first few sentences of "Peach-colored Clouds" will be translated

The second volume of Mr. Ero's collection is "The Last Sigh", published by Shubunkaku in Tokyo, Japan in early December last year, and contains a fairy tale drama "Peach-colored Clouds" and two fairy tales, one is "The Queen of the Sea and the Fisherman" and the other is "Two Little Deaths". The third article has been translated by me and published in the first month of this year's Oriental Magazine.

However, the author's intention is that he wants me to translate "Peachy Clouds" quickly: because he has reviewed this article for himself as recently as possible, and he wants to give it to the young people of China as soon as possible. But this was a problem for me, and I thought that Japanese was better than Chinese. And the author was able to capture his beauty and specialty, so I felt that I had lost the ability to communicate, so I put it on hold, and four months had passed in an instant.

But there is also pain in no-showing, so I finally can't help but make up my mind to translate. I also know that this move, at least when I lose half of the benefits of the original work, it will definitely become a failed job, and the person who can explain it can just "talk is better than nothing". But its content should always be there, which may still be able to comfort the reader's heart a little.

April 30, 1922, translator's note.

The translator is in the third stanza of Act II of "Peachy Clouds".

In the table of characters at the beginning of the book, the flock of hooves is mistaken for the flock of gulls. There are also a few typos in the first act, but they are probably recognizable, so I won't list them now.

And the characters and sentences in the whole book,There are also differences with the printed version.,That's the error of the printed version.,This time it's all corrected according to the base of SF Jun's proofreading and preparation for reprinting.。 However, the four sentences of "The Song of the White Bird" in the last stanza of Act III were newly added by the author himself, and they will not even be reprinted in the future. May 3 Diary.

Modern Japanese Fiction Collection

Appendix A note on the author

Natsume Sōseki (1867-1917) was a professor at the University of Tokyo before resigning to join the Asahi Shimbun to specialize in writing.

What he advocated was the so-called "low taste", also known as "literature with surplus". In 1908, Takahama's novel collection "Chicken Head" was published, and Natsume wrote a preface for him, explaining their attitude:

"A novel with margin, that is, as the name suggests, is not a novel of urgency, but a novel that avoids the word extraordinary. If we borrow a popular phrase from a recent trend, it is a kind of novel that people call not touching and not touching, not touching. ……

Or people think that those who do not touch it are not novels, but I argue that novels that do not touch do not have the same right to exist as novels that touch them, and they can also receive the same success. …… The world is very vast, and in this vast world, there are all kinds of different ways of living: enjoying all kinds of life with the opportunity is surplus, observing it is also surplus, or playing with it is also surplus. With this surplus of events, and the emotions about these events, Gu is still life, and it is a lively life. ”

Natsume's writings are known for their rich imagination and exquisite prose. In his early years, he was published in "Boccha" in the haiku magazine Hototogisu

), "I Am a Cat" (Wagahaiwa

eko de a

u) The essays, which are brisk and witty, are the mainstream of Shin-Edo art in the Meiji literary world, and are unparalleled in the world.

Kakemo

o) and "Mr. Clayka" (C

aig Se

SEI) and see "Four Essays on Soshi Jinshi" (1910), which is two articles of "Essays on the Eternal Day".

Mori Gume outside

Mo

I Ogai, 1860—) was a doctor of medicine and a doctor of letters, a former director of military medicine, and now the director of the Tokyo Museum. He and Tsubouchi Xiaoyao Ueda Toshiren were the first to introduce European literature and art, and they were very meritorious. Later, he engaged in creative work and wrote many novels and plays. Critics say that his works are the product of transparent intelligence, and there is no "heat" in his attitude. His defense of these words is made clear in the novel "The Game", and he expresses his creative attitude in "Sakazuki" (Cup). Each of the seven girls took a silver cup carved with the word "nature" and scooped the spring water to drink. The eighth girl took out a small, cold lava-colored cup and scooped up the water as well. The seven men were astonished and turned from insult to pity, and one of them said, "Lend me mine?" ”

The eighth girl's lips were closed, and only then did she speak.

“Mo

ve

e

’est pas g

a

d，mais je bois da

s mo

ve

'It's a dull but sharp voice.

That is to say, my cup is not big, but I drink it in my cup anyway. ”

"The Game" (Asobi) is found in the collection of novels "Trickle" (1910).

"The Tower of Silence" (Chi

moku

o tō) was originally the preface to the translation of the Dai 'Zaratustra', which appeared in the frontispiece of Ikuta's translation (1911).

Takero Arishima Takero Arishima (A

Ishima Takeo was born in 1877 and studied agriculture in England and the United States, where he was a professor at the Sapporo Agricultural School. In 1910, the magazine "White Birch" was published, and Arishima sent a manuscript to it, which gradually became known to the world, and the compilation of works over the years is "The Collected Works of Arishima Takero", which has been published in the fourteenth series. Regarding his creative requirements and attitudes, he has an article entitled "Four Things" in the eleventh volume of his Collected Works, which explains it slightly.

"First, I create because I'm lonely. Around me, habits and legends, time and space, have built ten or twenty walls, and sometimes I feel almost closed. But through the gaps in the majestic and tall walls, there is always a sight of thrilling life or nature, flickering and flickering. The surprise when you see this, the loneliness when you can't see this, and the loneliness when you clearly feel that this invisible thing can never appear in front of you again! At this time, there is nothing else but art that can truly give back to me what is invisible, what is truly pure. Since I was a child, I lived in this place without knowing it, and that took the form of so-called literature.

"Second, I create because I love. This may sound like a high-level or slow word. But there is no one who is born into the world and does not love. There is not one who has no income because of love. This life often expands from one person's chest to many people's chests as much as possible. I was overcome by this expansiveness. The lover had to get pregnant, and the pregnant had to give birth. Sometimes it is a living child, sometimes a dead child, sometimes a twin child, sometimes a child with a short moon, and sometimes the death of the mother herself.

"Thirdly, I create because I want to love. My love is driven by the impulse to want to be truthful to the life or nature that looms on the other side of the wall. So I unveiled my flag as high as I could, and waved my handkerchief as hard as I could.

There are naturally not many opportunities for this signal to be answered by others, and it is even less natural for a lonely character like mine. But if I can see my signal answered by someone's incorrect signal, my life will be at the pinnacle of happiness. I wanted to meet this joy for the sake of it, so I created it.

"Fourth, I create because I want to spur my own life. How stupid and lacking in my life! I'm sick of this. I already have a few shells that should be discarded. My work spurred me on and gave me a severe blow to the stubborn shell. I wish my life would be transformed by the works! ”

"With the Young" (Chisaki mo

o e) See the seventh volume of the Collected Works, also included in the collection of Japanese novels in Romaji.

The Death of Ahmad (Osue

o shi) see Collected Works, Volume I.

Eguchi

Eguchi Ka

Born in 1887, he studied English at the University of Tokyo and was a member of the Socialist League.

"Night in the Canyon" (Kyokoku

o yo

u) See "The Red Sail" (1919).

Kikuchi wide

Kikuchi Ka

Born in 1889, he graduated from the University of Tokyo with a degree in English. He himself said that when he was in college, he only wanted to study literature and was not prepared to be a writer, but later he occasionally wrote novels, and unexpectedly won the praise of friends and critics, so he continued to do it. His creation is to excavate the truth of human nature. As soon as it was true, he sighed abruptly, so his thoughts were close to misanthropy, but he was always staring at the distant dawn, so he was a struggler. Nanbu Shutaro said in "Kikuchi Kanron" ("New Wave" No. 174):

“He

e is also a ma

- These are the words that say all the characters in Kikuchi's works. …… They all have the most human-like appearance in the world, and they are willing to live in the most human-like world. Sometimes they are ruthless egoists, sometimes they are miserable traitors, sometimes they are cruel murderers, but I cannot hate them or scold them that make them stand before my eyes. This is because the more their evil character or ugly feelings are revealed, the deeper and sharper their qualities and lovely human natures that are hidden behind them move me and draw me closer. In other words, the more I played Kikuchi's works, the more I was awakened to my feelings of love for the world, and I couldn't help but spit He with him

e is also a ma

This sentence. ”

"Miu's Last of the Uemon Gate" (Miu

a Uemo

o Saigo) in Diary of an Unknown Writer (1918).

"Words of Revenge" (A

u Katakiuchi

o ha

ashi) in The Story of Repaying Kindness (1918).

Ryunosuke Akutagawa

Akutagawa Riu

Osuke was born in 1892 and was also a graduate of the English Department at the University of Tokyo. Jun Tanaka commented, "In Akutagawa's work, it can be seen that he used the whole of his personality and the appearance of the materials he used. This fact gives us the feeling that the work is complete. "The theme used in his works is mostly the uneasiness after the hope has been reached, or the feeling of being uneasy. Again, he uses old material, sometimes close to the translation of the story. However, his retelling of ancient things is not exclusively curious, but also has a deeper basis: he wants to find out from the lives of the ancients contained in these materials that can be in touch with his own mood, so those ancient stories are injected into new life after he adapts them, and they are related to modern life. In the preface to his collection of novels Tobacco and the Devil (1917), he explained his creative attitude:

"Materials have always been taken from old things. …… But even if I had the material, if I couldn't get into it,—— if the material and my mood couldn't fit together, the novel wouldn't be written. Reluctantly wrote it down, and it succeeded in destroying the fragmented thing.

"When it comes to the mood when I write a book, it's not so much the spirit of artificiality as the atmosphere of nurturing is 'more suitable'. Whether it's a character or an event, his original move is just one. I searched here and there, and there was only one thing, and I wrote on the side. If you can't find it, you can't move forward. If you go any further, you will definitely make something reluctant. ”

"The Nose" (Ha

a) See the collection of novels The Nose (1918), which is also included in the collection of Romazi novels. The long nose of the Zenchi monk is enshrined in the inner dojo is an old Japanese legend.

Bashōmo

See also the previous book, the original reference is in the Heian Dynasty story collection "Tales of the Past and Present".

Translator's Note on The Tower of Silence

Mori's Ouwai is a medical scientist and an old man in the literary world. But a few critics disagreed, presumably because his writings were too casual and had a very "old-fashioned" look. This one is the preface to the translation of "Thus Said Zaratus", and the satire is solemn and humorous, light and profound, and his characteristics can be seen. The Zoroastrian is used in the text to allude to his own country because fire and the sun are the same kind. We can now draw a mockery from China. It's just that China uses an excesse-oriented talisman and doesn't think it's as clear as the Greeks.

1921, 4, 12