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地獄變：芥川龍之介怪談傑作選 [Di yu bian : Gaichuan Longzhijie guai tan jie zuo xuan]
在某種層面上，我也是一個飽受孤獨地獄折磨的人。
芥川曾慨嘆「修羅、惡鬼、地獄、畜生等的世界不總是在現世之外。」其創作既有揭露社會的陰暗醜惡、批判資本主義的作品，也抨擊利己主義，反應世態炎涼、人情冷暖。本書收錄芥川文學生涯中的十八篇經典中、短篇作品，並依照創作年月先後順序編排，完整呈現芥川多元的文學魅力，讀者可從中體會芥川從早期、中期到晚期的風格轉變。題材從平安時代到昭和時代；從宮廷華貴到家庭紛擾；從佛語、地獄到人間；創作形式也橫跨童話、劇本、小說及自傳體。
〈鼻子〉初發表，即受到夏目漱石讚賞，正式登上日本文壇一席之地。
〈芋粥〉描寫的是人性欲望渴求背後的矛盾心理。
〈蜘蛛之絲〉乃芥川第一本以童話為創作形式的小說，曾多次收入日本及臺灣之教科書選文。
〈秋山圖〉巧妙揉合元代畫家黃公望之同名畫作，虛虛實實，假假真真。
〈點鬼簿〉帶有濃厚的自傳成份，描述芥川與家族之間的過往回憶。
〈玄鶴山房〉透過人物間的互動，充分展現芥川陰暗絕望又悲觀的寫作手法。
〈齒輪〉為芥川遺作，被許多評論家視為芥川的最高傑作。從文章中可看出芥川陷入的困境與不安。
芥川曾慨嘆「修羅、惡鬼、地獄、畜生等的世界不總是在現世之外。」其創作既有揭露社會的陰暗醜惡、批判資本主義的作品，也抨擊利己主義，反應世態炎涼、人情冷暖。本書收錄芥川文學生涯中的十八篇經典中、短篇作品，並依照創作年月先後順序編排，完整呈現芥川多元的文學魅力，讀者可從中體會芥川從早期、中期到晚期的風格轉變。題材從平安時代到昭和時代；從宮廷華貴到家庭紛擾；從佛語、地獄到人間；創作形式也橫跨童話、劇本、小說及自傳體。
〈鼻子〉初發表，即受到夏目漱石讚賞，正式登上日本文壇一席之地。
〈芋粥〉描寫的是人性欲望渴求背後的矛盾心理。
〈蜘蛛之絲〉乃芥川第一本以童話為創作形式的小說，曾多次收入日本及臺灣之教科書選文。
〈秋山圖〉巧妙揉合元代畫家黃公望之同名畫作，虛虛實實，假假真真。
〈點鬼簿〉帶有濃厚的自傳成份，描述芥川與家族之間的過往回憶。
〈玄鶴山房〉透過人物間的互動，充分展現芥川陰暗絕望又悲觀的寫作手法。
〈齒輪〉為芥川遺作，被許多評論家視為芥川的最高傑作。從文章中可看出芥川陷入的困境與不安。
- GenresLiterature
360 pages, Paperback
Published February 4, 2015
1 person is currently reading
14 people want to read
About the author
Ryūnosuke Akutagawa
1,344 books2,141 followersAkutagawa Ryūnosuke (芥川 龍之介) was one of the first prewar Japanese writers to achieve a wide foreign readership, partly because of his technical virtuosity, partly because his work seemed to represent imaginative fiction as opposed to the mundane accounts of the I-novelists of the time, partly because of his brilliant joining of traditional material to a modern sensibility, and partly because of film director Kurosawa Akira's masterful adaptation of two of his short stories for the screen.
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
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