Ogai Mori

Mori Ogai

Mori Ogai (1862–1922), one of the giants of modern Japanese literature, wrote The Wild Goose at the turn of the century. Set in the early 1880s, it was, for contemporary readers, a nostalgic return to a time when the nation was embarking on an era of dramatic change. Ogai’s narrator is a middle-aged man reminiscing about an unconsummated affair, dating to his student days, between his classmate and a young woman kept by a moneylender. At a time when writers tended to depict modern, alienated male intellectuals, the characters of The Wild Goose are diverse, including not only students preparing for a privileged intellectual life and members of the plebeian classes who provide services to them, but also a pair of highly developed female characters. The author’s sympathetic and penetrating portrayal of the dilemmas and frustrations faced by women in this early period of Japan’s modernization makes the story of particular interest to readers today. Ogai was not only a prolific and popular writer, but also a protean figure in early modern Japan: critic, translator, physician, military officer, and eventually Japan’s Surgeon General. His rigorous and broad education included the Chinese classics as well as Dutch and German; he gained admittance to the Medical School of Tokyo Imperial University at the age of only fifteen. Once established as a military physician, he was sent to Germany for four years to study aspects of European medicine still unfamiliar to the Japanese. Upon his return, he produced his first works of fiction and translations of English and European literature. Ogai’s writing is extolled for its unparalleled style and psychological insight, nowhere better demonstrated than in The Wild Goose.

The Wild Goose

Mori Ōgai (1862–1922), one of the giants of modern Japanese literature, wrote The Wild Goose at the turn of the century. Set in the early 1880s, it was, for contemporary readers, a nostalgic return to a time when the nation was embarking on an era of dramatic change. Ōgai’s narrator is a middle-aged man reminiscing about an unconsummated affair, dating to his student days, between his classmate and a young woman kept by a moneylender. At a time when writers tended to depict modern, alienated male intellectuals, the characters of The Wild Goose are diverse, including not only students preparing for a privileged intellectual life and members of the plebeian classes who provide services to them, but also a pair of highly developed female characters. The author’s sympathetic and penetrating portrayal of the dilemmas and frustrations faced by women in this early period of Japan’s modernization makes the story of particular interest to readers today. Ōgai was not only a prolific and popular writer, but also a protean figure in early modern Japan: critic, translator, physician, military officer, and eventually Japan’s Surgeon General. His rigorous and broad education included the Chinese classics as well as Dutch and German; he gained admittance to the Medical School of Tokyo Imperial University at the age of only fifteen. Once established as a military physician, he was sent to Germany for four years to study aspects of European medicine still unfamiliar to the Japanese. Upon his return, he produced his first works of fiction and translations of English and European literature. Ōgai’s writing is extolled for its unparalleled style and psychological insight, nowhere better demonstrated than in The Wild Goose.

Gan (geese) evokes Meiji-era Tokyo: its alleyways, rivers, mansions, poverty, and occasionally tense class interactions. Okada, a student at the most prestigious university in Japan becomes entangled in the romance of a disenfranchised woman and an ethically suspect merchant. At a time of rapid social change, Mori examines the social and economic pressures that continue to bind it's characters, who yearn for freedom. Circumstance, rigid social structure, and the familial and financial obligations drive the characters forward to Gan's powerful ending. Notable for it's deep exploration of character motivation, as well as its wonderfully elaborate female characters, Gan is an exceptional example of early 20th century Japanese Literature. It looks on a changing world, explores its faults and glimmers of hope, and lingers for a moment, bittersweet, at the thought of it's passing.

Ōgai Mori

森鷗外

Saiki Kōi and Other Stories

The literary writings of Mori Ōgai (1862-1922), one of the giant figures of the Meiji period, have become increasingly well known to readers of English through a number of recent translations of his novels and short stories. Ōgai was more than a writer of fiction, however. He has long been regarded in Japan as one of the most influential intellectual and artistic figures of his period, possessing a wide range of enthusiasms and concerns, many developed through his early European experiences. Not a Song Like Any Other attempts to reveal the full range of Ōgai’s creative endeavor, providing trenchant examples of his remarkable range, from dramatist and storyteller to poet and polemicist, all translated into English for the first time. The first of seven parts, “The Author Himself,” offers a variety of self portraits and other insights into Ōgai’s character through his essays—laconic, ironic, detached—written over the course of his career. “Mori Ōgai in Germany” reveals his responses to living in Germany in the 1880s and seeing for the first time how his country was being interpreted from the outside. It includes his celebrated and spirited defense of his country, originally published in a German newspaper. “Mori Ōgai and the World of Politics” relates his uneasy reactions to Japanese society at a later phase in his career. The fourth section provides some of the first information available in English concerning his lifelong interest in painting and other aspects of the visual arts in the Japan of his day. Ōgai’s theatrical experiments are briefly chronicled in Part 5. “Four Unusual Stories” offers new evidence of the range of the writer’s interests and ambitions. The final section includes some of the first translations of Ōgai’s poetry available in English. Contributors: Richard Bowring, Sarah Cox, Sanford Goldstein, Andrew Hall, Mikiko Hirayama, Helen Hopper, Marvin Marcus, Keiko McDonald, J. Thomas Rimer, Hiroaki Sato, William J. Tyler.

An Anthology of Writings by Mori Ogai

Not a Song Like Any Other

Jean-Jacques Tschudin

" Ce jour-là, j'aperçus, appuyée contre le portail clos de l'église, une jeune fille en train de sangloter d'une voix étouffée. Elle devait avoir seize ou dix-sept ans. Vêtue très proprement, sans trace aucune de saleté, elle portait un fichu qui laissait s'échapper une chevelure d'or pâle. Surprise par le bruit de mes pas, elle se retourna : mais comment décrire son visage sans un pinceau de poète ? Il lui suffit - je ne sais pourquoi - d'un seul regard de ses yeux bleus, limpides, emplis d'une tristesse implorante, de ses yeux à moitié dissimulés sous de longs cils embrumés de larmes, pour pénétrer au plus profond de mon coeur, un coeur pourtant sur ses gardes. "

La Danseuse

Ogai's (1862-1922) stature among modern Japanese writers is unparalleled, but until recently his work in translation has languished in scholarly monographs and journals. Japan scholar Rimer has gathered several of Ogai's best-known stories and the first complete translation of a major work, Seinen ("

Mori Ogai

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