Chuya Nakahara biography

Nakhara Tuya - “Japanese Rambo” and the poet of equilibrium Nakahara Tuya - entered Japanese literature as one of the most significant representatives of the lyrics of classical modernism, which covers the period from the beginning of the twentieth century to the Second World War. Tyuya formed his poetic style, based on the tradition of French symbolism, the poetry of the Parnassians, Dadaists and the surreal experiments of Takahashi Sinkiti.

The art world of Nakhara Tuya constantly balances between the ghostly images of symbolist poetics and the images of the material world, which are served by the author through the prism of his subjective perception. In this sense, Tuya’s lyrics are interested in correlating with the poetry of I. Annensky, who handed the connecting thread between Russian symbolism and acmeists - the heirs of the poetic traditions of the Parnassians and, above all, Theophilus Gauthier.

The avant -garde experiments in the early lyrics of Nakhara Tuya are focused on paradoxical synthesis: the conversational style of the modern Japanese language, on the one hand, and the pathetic archaisms of Bungo - the language of medieval Japan - on the other. Despite this, even during the period of literary apprenticeship, Tyui does not lose the organicity of style and artistic integrity inherent in the verses.

Nakhara Tuya is actively turning to such genres of romantic literature as elegy and ballad, however, the romantic conflict “Poet - crowd” complicates: the night crowd for Tuya is an irrational image, a meditative chronotope, a source of inspiration about the same wrote Kagawa Kagems in the tank “almost more than in the highest mountains ...”, as well as his Russian colleague - V.

Lighterovsky - V. Mayakovsky. In the poem "Crimson and White is thrown back and crumbling ...". The poet’s worldview in the early years is a contradictory combination of the ideas of decadence, individualistic anarchism, Catholicism and Zen Buddism with a tendency to strengthen the latter in the late period of work. Already in the poet’s early modernist lyrics, the influence of the key values ​​of methanarities of traditional culture is traced, which is generally characteristic of Japanese poetry of that period from this point of view of the work of Nakakhara Tuya is close to the poetics of Veliir Khlebnikov.

The agrarian-ethnic theme of many poems by Tyuya brings them closer to the vanity poets and, above all, with the lyrics of S. Yesenin, whose style, close to colloquial speech, is combined with the unexpected intersection of elegant, expressive images of modernist poetry. In turn, the nostalgic-game interpretation of the decadent culture Nakhara Tuya brings him closer to Boris Poplavsky-the “last Russian decadent”, who created in the same years as his Japanese colleague.

The secret of the charm of the lyrics of Tuya lies in her melting, emphasized musicality, it is no coincidence that during the life of the poet many of his works were put to music. As a modern researcher and translator A., ​​thanks to these experiments, Tyuya creates a new poetic rhythm based on a combination of tonics and the modernist verbalist in connection with this, the Dolnik and Tnotovik seem to us the most suitable dimensions for the poetic translation of Nakakhara texts-since the Russian Verlibr for Tuya is too monotonous, and the classical sulfurdomor leaves on his poems to be too “bare Subscribing.

Despite the fact that the lyrics of Nakhara Tuya are outside literary trends, trends and poetic schools, his creative heritage is widely known outside Japan, and in his homeland Tuya is one of the most famous and readable poets. Commentator Nakamura minor r. In April, the Taro Taro poet-Dadaist-introduced Nakahar with the literary critic of Kobayashi Hideo-, in November, there was no toming, and Yasuko went to Kobayashi.

By July, I will show Kobayashi. As I come to Tokyo, I will show poetry to people. In this poem, Nakahar is affirmed as a poet. This poem has a “classic” structure of the sonnet, there are 14 lines in it: 4-–3. As for the content of the poem, his topic is the spiritual fatigue of the lyrical hero. The image of "morning" here is by no means a symbol of bright hopes. Even when the morning comes, and the beam will barely paint the ceiling in a reddish color, the hero Nakahara will do nothing.

He does not hear the singing of birds, his thoughts are turned into the past, he says goodbye to the dreams of happiness that is not destined to come true. ” Nakamura, Minor, comments on the poem as follows: “In the first three stanzas, the author’s joy about returning to his native land is felt. However, the last two lines differ sharply from the previous part of the poem.

The early verses of Nakhara Tuya, as you know, resemble Japanese children's fairy tales, but they are sad, mournful and joyless, which makes them more touching. Hurricanes and wars, eras pass by, only the circus sometimes gives ideas. Outside, pitch darkness, and suddenly for a moment under the arches of the circus lights light up. Mirly affairs are in vain in the face of eternity.

When Nakhara was a child, his father, a military doctor, went on business to Hiroshima and Canadzava. This is one of the examples of [intentional] incorrect usage, which is often found in the verses of Nakhara Tuya.Human feelings are beautiful and sad, but no more than the color of an orange. ” However, this final image unexpectedly changes the entire course of the lyrical plot, “a poem in which a deep feeling of a person’s loneliness in a terrible weather is praised is filled with a sweet feeling.

Dressed young people, tired of fun, return home with songs ... The ranks of black buildings remind the hero of Nakhara Tuya organ. Already deep night, not a soul on the street. Probably, only the inconsistent melody of their songs, resonating in the organ of houses, is heard. The higher this copper sound, the stronger the lyrical hero covers the feeling of emptiness and despondency.

Although the hero of Nakakhara Tuya understands that it cannot be forgotten about trade affairs, affairs, he has a feeling of alienation, the desire to break out of the shackles of society. ” Nakamura Minor notes that the poem “stained with sadness” published in April, “one of the most famous works by Nakahara Tuya. The unhurried rhythm of the poem refers us to traditional folk songs.

The form of buttons, possibly, as in the butterfly, contains a hint of the poet’s plea about the revival of life, about the resurrection of his hopes. Starting from the early period of his work, Nakahara is impressed by the motive of the accidental acquaintance of his lyrical hero with extraneous objects, the realities of the inanimate world. After the publication of the poem in June, the critic of Kobayashi Hideo wrote two months later an enthusiastic review in the magazine “Bungaku-kai” “Literary Circles”.

The author ignores complex combinations of psychological images, brightly colored adjectives and words for transmitting individual experiences ... But this is what makes the image of human bones more visual, ”Kobayashi noted.

It is also possible that the narrative here is on behalf of the ghost, which stands at his grave and, remembering about the past, lives his life again, ”comments on the text of Nakamur Minor. The writer of Ooka Sekhei commented on the poem as follows: “I think this is one drama, or rather even one pagan myth about the creation of the world.” There is a feeling that a deceased person turns back and with a prayer for resurrection looks at our world.

In Haiku, the word Xunso - “Spring evening”, “Spring night” - is used to indicate spring, often May. It is also believed that in the spring, at an hour, when flowers fragrant and the moon shines dimly, feelings are aggravated.