Read Rashomon en andere verhalen by Ryūnosuke Akutagawa Jan Bongenaar C.I.H. Arkenhout Jack Scholten R.R. Schepman Edith Koopman Online


Een aantal van Ryunosuke Akutagawa’s beroemdste verhalen zijn in deze bundel opgenomen. Twee ervan, Rashomon (1915) en In het bos (1922) vormden samen de basis voor Akira Kurosawa’s befaamde film. Verder zijn gekozen Kesa en Morito (1918), De herfstberg (1921) en de novellen Het scherm van de hel (1918), dat een gruwelijke episode aan het hof van een feodaal heerser behelsEen aantal van Ryunosuke Akutagawa’s beroemdste verhalen zijn in deze bundel opgenomen. Twee ervan, Rashomon (1915) en In het bos (1922) vormden samen de basis voor Akira Kurosawa’s befaamde film. Verder zijn gekozen Kesa en Morito (1918), De herfstberg (1921) en de novellen Het scherm van de hel (1918), dat een gruwelijke episode aan het hof van een feodaal heerser behelst en alom wordt beschouwd als Akutagawa’s meesterwerk, en De rovers (1917), een zinderend verhaal over list, bedrog en straf tegen de achtergrond van een pestepidemie in de Japanse Middeleeuwen....

Title : Rashomon en andere verhalen
Author :
Rating :
ISBN : 9789020406856
Format Type : Paperback
Number of Pages : 160 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Rashomon en andere verhalen Reviews

  • Dan Schwent
    2019-03-26 23:47

    In a Grove: A man is found stabbed to death in a grove. Some people of interest and the key players give their accounts.Yeah, I'm a fan of this. Lots of narrators with varying degrees of reliability. If the other stories are this good, this collection is going to be stellar.Rashomon: A samurai's servant sits under the Rashomon during a rain storm, pondering whether he should become a thief or starve to death.I didn't like this story as much as the first but it was still interesting. I never thought of making wigs in that way.Yam Gruel: Goi, a samurai who is the butt of everyone's jokes, has a life-long craving for Yam Gruel. But what will he do when he's offered all he can ever eat?This was an odd one, more like a fable than the previous two. I felt bad for Goi and really hoped he'd go on a killing spree but, alas, it was not to be.The Martyr: When the umbrella maker's daughter becomes pregnant, everyone suspects, Lorenzo, the orphan raised by Jesuits.Huh. This was an odd one about protecting the people you love at all costs.Kesa and Morito: The tale of a love triangle from two of its participants. This was another story with unreliable narrators. It was well written and fairly twisted.The Dragon: An old man tells the story of a big nosed priest named Hanazo and the prank he played on a village that backfired.All in all, this was an enjoyable collection. By far, my favorite tales were In a Grove and Kesa and Morito, the two unreliable narrator tales. The others were good to mediocre. 3.5 out of 5 stars.

  • Sawsan
    2019-04-18 15:46

    قصص كُتبت بإبداع, زادت من إعجابي بالأدب اليابانيقصص في عالم وثقافة مختلفة, فيها خيال وغرابة وتشويقالشخصيات نرى في كل منها جانب من الانسان بكل ما في نفسه من خير أو شرتميز في أفكار القصص وأسلوب السرد, والترجمة جميلة للأستاذ كامل يوسف حسينكتب المترجم مقدمة عن حياة ومراحل إبداع الكاتب الياباني رايونوسوكي أكوتاجاوا الذي كتب أكثر من مائة قصة لم يُترجم منها للعربية إلا القليلوفي آخر حياته ازداد قلقه وخوفه من المرض العقلي وأنهى حياته بالانتحار عام 1927 وهو في سن الخامسة والثلاثينوتم تأسيس جائزة أدبية سنوية للأعمال المميزة تحمل اسمه تكريما له

  • Tadiana ✩Night Owl☽
    2019-04-07 23:28

    Six deceptively simple (or simply deceptive?) short stories from early twentieth century Japanese author Ryūnosuke Akutagawa, who died at the too-early age of 35. My favorite is the first story, "In a Grove," where the police commissioner interviews various (unreliable) witnesses, trying to pin down exactly what happened in an apparent murder/rape scene. In "Rashomon," a laid-off servant lingers under a dilapidated gate, caught between an living an honest life that might be the end of him and adopting a life of thievery. An odd occurrence leads him to his choice. The main character in "Yam Gruel" is distinctly reminiscent of the pitiful, picked-upon Akaky in The Overcoat. Sometimes getting what you've always wanted leaves you emptier than when you started. Another standout was "Kesa and Morito," in which a man and woman who've had a brief fling decide to kill the woman's husband -- and neither of them really wants to do so. Love and contempt are mixed together in their hearts, one melting into the other until they're almost indistinguishable.There are no easy answers in any of these painful stories. Truth twists away from you and becomes elusive in one tale after another.I would kind of like to taste yam gruel now, and to see a yam that's actually three inches wide and five feet long...

  • Paquita Maria Sanchez
    2019-04-13 18:43

    Here is the answer to the obvious question, which I call obvious because of the fact that I thought it, s. commented below asking about it, and my guess is that more will come. So, let me clarify...umm, sort of.It's a little confusing, actually. The Akutagawa story In a Grove, which is in this particular Akutagawa collection, was the basis for the Kurosawa film Rashōmon. The Akutagawa story Rashōmon--which is also in this collection and by the same author, Ryūnosuke Akutagawa--shares no similarities save robber characters and, of course, being in this collection and by this particular author: Akutagawa. Further, this edition of Akutagawa stories that I personally read only contains 6 pieces, though goodreads has filed it as if it were the same as another Akutagawa collection which contains 17 Akutagawa stories, including Rashōmon and In a Grove, the latter of which was the basis for the Kurosawa film Rashōmon, and both of which are also, as I said, in the 6 story collection that I read. How much wood would a woodchuck chuck if a woodchuck could chuck wood? Imagine managing the manger at an imaginary menagerie!*In a Grove alone makes this worth reading, though Rashōmon the short story is amazing in its own right. Yam Gruel is a guts-knotting depiction of what happens when you get what you want, even (especially?) if it's the only thing you ever wanted, and still have so much empty existence left to live through afterward. This one made me feel like I was watching one of those guilt-trippy "save the battered puppies and kitties" commercials with the sappy Lilith Fair soundtracks that make you so sick to your stomach with overwhelming, scary Feelings about this harsh world that you have to change the channel as quickly as possible in order to not cry (or shove a pistol in your mouth). Kesa and Morito is a story of adultery and murder between a couple who simultaneously despise, love, fear, and lust for one another. It is a brief reflection on what we have and what we lose as a result of what our self-hatreds make us think we do and do not deserve, and on the appeal of smashing something to bits if only for the resulting change itself. It is also about the guilt that follows: Could I not endure my loneliness since my ugliness was vividly shown to me? Did I try to bury everything in that delirious moment of putting my face on his chest? Or was I moved by mere shameful desire as he was? ...I can love only one man. And that very man is coming to kill me tonight. Even this rush-light is too bright for me, tortured by my lover as I am. Daaaaamn, gurl. Isss ok!The other two stories concern religious themes of devotion and mass hysteria. I'm not sure how I feel about The Martyr, as it struck me as a sort of Japanese retelling of the Job tale, and that bible story more than most makes me extremely angry that I'm expected to buy the appeal of some all-powerful sadist dickwad in the sky. The Dragon, however, was awesome for the opposite reason: it actually questions the various supposed spiritual phenomena throughout history, anything from possessions to Virgin Mary in the cheese, all through a simple tale of a priest's prank that goes too far. We all saw it happen, so that means it's real! Even though there is zero proof! How could we all think it if it's not true? That never happens!Great collection. I'm sure that the even longer collection that goodreads thinks this collection is, is also great. *Alright, I admit that I made that more difficult than necessary.

  • M.
    2019-03-26 23:48

    "Demek ki insanoğlu, gün doğunca uçup giden bir çiğ tanesi gibi fani ve ömrü de çakıp sönen bir şimşek kadar kısacık..." (s.147)Savaş öncesi Japon edebiyatının en şaibeli isimlerinden birisi olan Akutagava'nın öykülerinden oluşan kitabın; Meiji hanedanlığı döneminden itibaren yükselişe geçen Japonya'nın, buna paralel yükselen edebiyatının da bir eseri.Japonya her ne kadar Batıdan beslenerek kendine özgü bir kültür, sanayi, politika ve bilim üretebildiyse; edebiyatta da aynı şekilde Strindberg, Dostoyevski gibi isimlerden etkilenen ama kendine özgü bir tarz oluşturan Akutagava da bu bayrağı omuzlamış.Kitapta beni en çok etkileyen öykü Çalılıklar Arasında isimli öykü oldu. Hafızam beni yanıltmıyor ise yıllar yıllar önce izlediğim, 1950 yapımı; yönetmen koltuğunda Akira Kurosawa'nın oturduğu Rashomon isimli film de bu öyküden uyarlama. Gerçekliğin farklı açılarından bakılarak yazılan kitabın kendisinden çok sonra gelen; Miramar gibi pek çok esere kıyasla 1922 yılında yazıldığı göz önünde bulundurulmalı. Kitabın ürpertici havasını soluduğumuz bir diğer öykü olan Cehennem Tablosu en beğendiğim ikinci öykü oldu. Bu öykü her ne kadar karanlık bir ruh haletinin yansıması olsa da (Yazarın her zaman taşıdığı melankoliye de uygun) insanın aklına kazınan bir konuya sahip.August Strindberg'ten oldukça etkilenen, hatta bazı öykülerinde onu karakter olarak dahi kullanan yazarın tıpkı Strindberg gibi son derece melankolik bir ruh taşıdığı öykülerde rahatlıkla anlaşılıyor. Burada değinmek istediğim bir diğer konu ise Çevirmen Oğuz Baykara'nın çevirisindeki kelime çeşitliliği. Çevirmenin kelime dağarcığının ne denli güçlü olduğu çevirisinden rahatlıkla anlaşılıyor.Her ne kadar 13 günde bitirsem de, ağır fakat keyifli bir okuma oldu benim için. Bazı öyküleri gerçekten çok beğensem de bazı öykülerde zorlandığımı itiraf etmeliyim. M.B.

  • Traveller
    2019-03-21 20:20

    I think I somehow missed the point of the Yam gruel story. I found the Rashomon story rather cruel and unsympathetic. I think I'll reserve judgment until after we've discussed these in our Brain Pain group.Something that I definitely did notice, is that quite a bit of the original seems to be lost in translation, which might be partly the fault of the translator, but almost definitely also due to the fact that English and Japanese are two languages that seem to be difficult to translate mutually. From all accounts that I've heard, it seems that there are some words and expressions that are almost untranslatable from the English to the Japanese, and I daresay vice versa too. In any case, I do know of cases where certain single words in Japanese have no equivalent in English, and have to be "explained" via entire paragraphs or sentences. That doesn't really lend itself to elegance in the translated work. :(

  • Cem
    2019-03-30 22:43

    İnsanın içini ürperten, kanını donduran, okuru düşündürtmenin ötesine geçirten, hepsi ayrı ayrı beş yıldızı hakeden hikayeler...Aşağı yukarı tüm öykülerin arka planındaki inanç-din, cennet-cehennem, iyilik-kötülük meseleleri, kesinlikle basmakalıp olmayan, sıra dışı bir dille anlatılmış.Bu arada Japon edebiyatıyla tanışıklığım arttıkça daha çok sevmeye başlıyorum.

  • Hadrian
    2019-04-10 18:34

    If you're a fan of Japanese cinema, you will recognize one of Kurosawa's movies from the title. However, the movie is a pastiche of two short stories - the eponymous Rashomon set at the gate in Kyoto, and "In A Grove", a murder mystery from multiple perspectives. This collection of six Akutagawa stories is deeply observant and some wry observation about human nature, or some criticism of an institution. "Kesa and Morito" is like "The Gift of the Magi", except with murder. These works are deeply psychological with a trend towards the morbid or the supernatural, but there is a tint of black humor in them too. The main 'issue' with this collection is that there are only six stories. Enough to read in an afternoon, and only a taste of Akutagawa's work.

  • José
    2019-04-14 20:41

    Me encanta todo lo relacionado con los samurai y el Japón feudal, pero curiosamente hasta ahora no había leído ninguna historia ambientada en ese período histórico. Como en toda colección de relatos hay un par que son un poco flojos, pero la gran mayoría me gustaron mucho. Casi todos tienen un tono muy pesimista y trágico, y por momentos incluso algo de humor.Mi favorito fue «El biombo del infierno», en el cual un pintor bastante desquiciado y excéntrico se ve obligado a cumplir un encargo para su señor. Fue un relato bastante oscuro que me sorprendió mucho.

  • Horace Derwent
    2019-04-06 18:32


  • Niran Pravithana
    2019-04-04 19:38

    ในบรรดานักเขียนญี่ปุ่นทุกคนที่ผมเคยอ่าน ผมนับว่าริวโนสุเกะ อาคุตะกะวะเป็นอัจฉริยะในหมู่อัจฉริยะแต่ไม่ใช่ว่าคนทุกคนจะชอบสไตล์งานเขียนของอาคุตะกาว่า เพราะสไตล์เรื่องสั้นของเขาหลายครั้งเป็นงานเขียนที่ดึงเอาด้านมืดของจิตใจมนุษย์มาโยนใส่หน้าคนอ่านแบบไม่มีการประณีประนอม สร้าง ethical paradox พร้อมเปิดช่องให้ผู้อ่านตีความบทประพันธ์เอาเอง ซึ่งจะพบได้ในเรื่องสั้นหลายเรื่องของหนังสือเล่มนี้ (ในป่าละเมาะ, ฉากนรก)(ผมคิดเอาเองว่าแนวการเขียนรูปแบบนี้เป็นเหมือนรากของงานเขียนในยุคหลังๆ จำพวก postmodernism ที่ผู้อ่านเป็นผู้กำหนดความหมายของวรรณกรรม เช่นในผลงานหลากหลายเรื่องของมูราคามิ)หนังสือของไทยมีชื่อว่า ราโชมอนและเรื่องสั้นอื่นๆ ซึ่งมีเรื่องสั้นเพียง 5 เรื่องในเล่ม (ราโชมอน, ในป่าละเมาะ, ใยแมงมุม, จมูก, ฉากนรก)ในป่าละเมาะ (In the Grove, 藪の中) เป็นเรื่องสั้นที่น่าจะเป็นที่รู้จักกันมากที่สุด เพราะอากิระ คุโรซาว่า ผู้กำกับชื่อดังได้นำไปสร้างเป็นภาพยนตร์ชื่อราโชมอน (หลังจากนั้นด้วยความแนวของบทหนัง ราโชมอนได้ถูกนำไปรีเมคเป็นภาพยนตร์ฮอลิวู้ดชื่อ The Outrage และล่าสุดม.ล.พันธุ์เทวนพ เทวกุลก็นำเนื้อหาของราโชมอนมาดัดแปลงเป็นภาพยนตร์ไทยที่ชื่อว่าอุโมงค์ผาเมือง)ในป่าละเมาะเล่าเรื่องราวการฆาตกรรมจากมุมมองของผู้อยู่ในเหตุการณ์หลายคน แต่เรื่องราวที่เล่าออกจากปากกลับแตกต่างกันไปคนละทาง เรื่องราวแบบปลายเปิดไร้การคลี่คลายในตอนจบ เป็นงานเขียนที่เรียบง่ายแต่ทรงพลัง ตีแผ่ธรรมชาติด้านลบของจิตใจมนุษย์ได้อย่างตรงไปตรงมา(ผมชอบเรื่องสั้นของอาคุตะกะวะเรื่องนี้มากกว่าบทภาพยนตร์ที่ถูกดัดแปลงโดยอากิระ คุโรซาว่าเสียอีก คุโรซาว่ามีมุมมองจิตใจมนุษย์ในด้านบวก ส่วนอาคุตะกะวะเป็นด้านลบ ทำให้หนังราโชมอนของคุโรซาว่ามีสเน่ห์น่าสนใจว่าผู้กำกับที่มองโลกในแง่ดี จะตีความเรื่องราวของนักเขียนที่มองโลกในแง่ร้ายได้อย่างไร)แต่ในบรรดาเรื่องสั้น 5 เรื่องในหนังสือเล่มนี้ ผมกลับชอบฉากนรก (Hell Screen, 地獄変) มากที่สุด ฉากนรกเป็นเรื่องสั้นที่พูดถึงจิตกรเอกที่ไม่สามารถวาดภาพที่สมจริงได้หากไม่เห็นภาพเหตุการณ์จริงเกิดขึ้นตรงหน้า และเมื่อจิตกรได้รับโจทย์จากมหาเสนาบดีให้วาดภาพนรก การทิ้งจิตวิญญาณความเป็นมนุษย์เพื่อสร้างสรรค์งานศิลปะจึงทำให้เกิดโศกนาฏกรรมที่น่าสยดสยอง**spoiler alert**แอบรู้สึกไปว่าในเรื่องฉากนรก จิตกรเอกโยชิฮิเดะเป็นเหมือนกับภาพสะท้อนตัวตนของอาคุตะกะวะ ความคลั่งไคล้ในงานศิลปะแบบถอนตัวไม่ขึ้น ความหลงไหลระดับที่ยอมให้สิ่งที่มีค่ามากที่สุดในชีวิตของตัวถูกเผาไหม้เพื่อแลกกับการสร้างผลงานชิ้นเอก สำหรับโยชิฮิเดะ สิ่งนั้นคือบุตรสาว ส่วนของตัวอาคุตะกะวะ สิ่งนั้นคือจิตวิญญาณความโหดร้ายที่เกินจะรับได้ของโยชิฮิเดะในตอนท้ายเรื่องนั้นความจริงอาจเป็นเพียงการอุทิศทุกสิ่งทุกอย่างในชีวิตเพื่อแลกมาซึ่งผลงานอมตะเหมือนตัวอาคุตะกะวะและบทสุดท้ายของโยชิฮิเดะนั้นก็ปิดลงเหมือนกับบั้นปลายชีวิตของอาคุตะกะวะเช่นกัน

  • Rise
    2019-04-06 22:36

    Consider the first story. A Police Commissioner interviews seven individuals regarding an alleged crime of murder:- The first witness is a woodcutter who discovered the body of the dead man;- the second witness is a travelling Buddhist priest who met the man and his wife prior to the incident;- the third witness is a policeman who arrested the only suspect to the alleged crime;- the fourth, an old woman, the dead man’s mother-in-law;- the fifth is the bandit who confessed to the crime;- the sixth is the wife of the dead man; and- the final witness, the dead man himself speaking through a medium.That’s it. We have the sketch of the story told from several points of view. The depositions of the first four witnesses overlap with each other, telling of what appears at first as a crime of passion. The last three witnesses are directly involved in the man’s death.The novelty of this story, “In a Grove,” lies in the inconsistencies between the testimonies of the persons involved. The actual circumstances of the man’s death, which initially appears to be an obvious case of murder, become more and more complex and murky as different versions are presented. The elements of a successful crime (motive, opportunity, and means) are turned upside down in every successive telling. We do not know who is telling the truth. Everyone is complicit.Akutagawa Ryūnosuke, the author of this short story, is a Japanese master of the form. In his hands, a short story is a short story. That is to say, it is quick. His words are efficient without sacrificing the complexity of a plot. His tales are suffused with nuance and concrete details. His themes are large themes. His main concerns are basic. He is interested in the ambiguities of human choice, the uncontrollable passions suddenly flaring, the travails of the outcast, and the futility of moral justifications.My copy of Rashōmon and Other Stories is a reprint of the second edition of the book first published in 1952. It contains six pieces, all translated by Takashi Kojima, and with an introduction by Tanizaki Jun'ichirō translator Howard Hibbett. In the book's preface, Takashi Kojima said that the six stories are selected with the aim of collecting the “finest and most representative writings” of Akutagawa. For a prolific writer such as Akutagawa, a mere representation of his best works in six servings, out of the more than a hundred stories he completed, appears to be non-representative at all. But there can be no doubt that the six pieces – six master pieces – are among his finest. Any collection that contains the first two in this book, “In a Grove” and “Rashōmon,” is a book to be treasured. Though it does not contain his other famous stories (“Hell-Screen” and “The Nose”), the book is a perfect sampler of Akutagawa’s literary output.The “most comprehensive” collection of Akutagawa’s stories is said to be the Penguin compilation Rashōmon and Seventeen Other Stories (2006), translated by Jay Rubin and introduced by no less than Murakami Haruki. Murakami mentions in his introduction that Akutagawa is his third personal favorite among “Japanese national writers,” after Sōseki Natsume and Tanizaki. Three of the collected stories here – “Yam Gruel”, “The Martyr”, and “Kesa and Morito” – are not included in the Penguin edition. Maybe that’s a loss for that edition because these three are real gems.When I watched the 1950 film Rashōmon, directed by Akira Kurosawa, in the UP Film Center more than ten years ago, during a retrospective of films by two Asian directors (Kurosawa and Satyajit Ray), I was not aware that it was based on two short stories by Akutagawa. The film was incontestably one of the finest produced in history. This six-story edition perhaps appeared as a kind of a movie tie-in edition of the film that was fast gaining critical and mass acclaim at that time.I was dumbstruck during the screening of the film. Even now, I could still visualize the husband’s fiery eyes and stone-hard gaze on his wife after the bandit pursued and tricked the couple. Reading the source story was like reading a natural script of the film. It’s like watching again the entire film, a déjà vu experience.The plot of the film was essentially that of “In a Grove,” while its landscape of waste and despair was borrowed from the story “Rashōmon”. Both “In a Grove” and “Rashōmon” deal with human selfishness: the manipulation of truth to justify oneself and the subjectivity of good at the behest of human avarice.In the first story, the characters are consumed by the need to explain or justify their behavior before the High Police Commissioner, to bear witness to something they have “seen.” The film masterfully assigns the role of the High Police Commissioner to the audience, in the same way that the reader "acts" as the Commissioner who listens to all the versions of the story. Each version is tailored in such a way that it casts its teller in the role of the underdog or the wronged.The “Rashōmon” story, like the first, is also about the relational value of truth and goodness. It's about a servant laid off from his job and left to wander around the gates of Rashōmon, an area notorious as hideout for thieves and dumping ground of corpses. In the face of this abject situation, the former servant is driven to do an “evil” thing in order to survive.There lies the paradox of “Rashōmon”. When people are reduced to living at the margins, they are forced to do things that are considered to be taboo. They will die if they don’t. When life contracts into uselessness, subjectivity becomes a precondition of existence, “good” and “evil” following the theory of relativity.Akutagawa’s stories (at least in the Kojima translation) are deceptive because of their sketchy quality. They are not what you might call polished writing. Here and there are awkward sentence constructions. I don’t know if it is due to the translation, but a certain clunky quality of the prose is consistently displayed throughout. As if these are just rough drafts of a master who cannot be bothered to perfect his trade? And yet behind the rough outlines of the plotting are universal truths.The pieces contain truths that most other forms took very long to develop. Akutagawa’s mastery is for a compression of details and a compacted intensity of feelings. Their power and impact are derived not from the flashes of technique but from a rhythm borne out of hurried recognitions. The fragility of life's convictions and principles dawn on us when the temple of the familiar was not found dwelling where it is supposed to. Is it in the inner sanctum of men? There is in fact no temple for Akutagawa, only a harsh condition of living, a bleak view of humanity, a state of nature characterized only by uncertainty.Greed, hate, covetousness, pride, lust – these are the vices pictured in several stories in this collection. One can even add gluttony (to exaggerate a character’s craving in “Yam Gruel”) and get the picture of Akutagawa’s apparent subject matter – the seven deadly sins. His source of conflict is often perversion (e.g., “lust for lust’s sake” in "Kesa and Morito").Characters pander to their base instincts. They tenaciously hold on to their own needs and wants, pursuing their wishes come what may. They are driven to it, their nature drove them to it. The environment entraps their soul. Akutagawa’s is the kind of writing that makes your heartbeat race fast as you read it. And the kind that stops the heartbeat by some lately introduced complication. His stories, almost always period pieces, do not lose their contemporary feel. They are timeless and alive. They are like "the sublimity of life", which culminates, as one of the stories proclaims, “in the most precious moment of inspiration.”

  • توفيق عبد الرحيم
    2019-03-27 19:34

    الراجل ده ممتاز جدًا بيفكرني بتوفيق الحكيم بس مع فرق كبير هو ان ريونوسوكي اسلوبه اقوي عشر مرات من توفيق الحكيم اديب بجد مش مجرد واحد بيحول حكم لقصص كل قصة وراها حكمة وراها فكرة قصة في الغابة بعد محادثة مع صديق عرفني انها عن نسبية الحقيقة القصة بتحكي عن ساموراي اتقتل و اعترف بجريمة القتل تلات اشخاص مختلفين و كل واحد علي حسب كلامه انه قتل الساموراي فعلًا و هي عمومًا اقوي قصة في الرواية قصة راشومون الحكمة اللي وراها بتكمن في ان عمل الشر ممكن نشوفه علي انه خير حسب الظروف السيدة العجوز بتنتزع شعر الاموات لبيعه لصناع الشعر المستعار و هذه هي الطريقة الوحيدة لكي تحياو كذلك الرجل اللي علي وشك الموت من الجوع مش هنشوفه شرير لما يسرق ملابس السيدة العجوز نفسها قصة عصيدة إليام بنشوف فيها أمنيات الانسان اللي بتبقي دايمًا تمنيها افضل من الحصول عليها نفسه لاننا لما بنوصلها بنكتشف انها حاجة عادية و مكنتش تستحق كل اللي عملناه عشان نوصلها قصة الضحية ممكن نقول تاني افضل قصة في المجموعة و حاسس انها مالوفه جدًا بالنسبة ليا الكاهن اللي بتتهمه البلد كلها انه زنا ببنت عشان يكتشفه لما مات ان الكاهن نفسه كان بنت من البداية و ان البنت ادعت انه زنا بيها عشان مرضاش يحبها قصة بتبين معاناة الاشخاص الصادقين جدًا في حياتهم هما مفيش ايدهم حاجة يعملوها عزة نفسهم مستمحلهمش بالاستماته في الدفاع عن نفسهم هما صادقين ولا يكذبوا و مش شايفين ليه ممكن الناس ممكن يكذبوهم اصلًا قصة كيسا و موريتو و الاحساس بالخواء اللي بيتبع الزنا و ان العلاقة ككل مكنتش تستحق كل ده مننا و ده هنلاقيه بس عند الشعوب اللي بتقدس الشرف زي اليابانيين و العرب لان نفسيًا بيبقي فيه عوامل كتير جدًا بتضغط عليهم و بتفسد العلاقة مهما كانت جميلة و في حالة اخواتنا اليابانين من الواضح ان السبيل الوحيد لغسل العار ان حد يموت الزوج بقي الزوجه مش مهم المهم ان حد يموت عشان التاني لا يعيش بعاره قدامه بقيت حياتهو اخيرًا قصة التنين و ازاي كذبه بسيطة اتحولت لحدث قومي كبير و ازاي واحد حب ينتقم من اهل بلده لقي نفسه و بدون قصد خدع اهالي البلاد المجاورة جميعًا و فكرة القصة بان الكاتب دعي الناس لكي يحكوا لهم اغرب الحكايات التي سمعوها في حياتهم كانت ممكن تتطور و تستخدم لعمل الف ليلة و ليلة صينية ندفع دم قلوبنا عشان نشتريها تقييمي للترجمة نفسها 3/5 و اختيار رائع من قبل المترجم بس هو مش متمكن من ادواته

  • Yousra
    2019-03-24 17:45

    في يوم واحد انهيتها🙂 ... راشومون ... الرائعة أحب المسرح كثيرا ... ليس تلك المسرحيات المضحكة بل ذلك النوع من المسرح وسبق لي أن شاهدت في الهناجر مسرحيتين أحداهما مصرية بالعربية العامية والأخرى كانت مسرحية أمريكية بالإنجليزية ... أتمنى لو كنت أستطيع فقط حضور عرض لراشومون ترجمة سهلة ووصف رائع للمناظر ولبوابة راشومون في المعالجة المسرحية لقصة راشومون ... القصة الأكثر شهرة للكاتب الياباني ريونسكي أوكاتاجاوا الذي قرأت له قبل ذلك مجموعته القصصية الشيطان والتبغ الصادرة عن كتب خان ... كل ما وصلنا مترجم عن الإنجليزية للأسف لا عن اللغة الأصلية ومع ذلك يبدو أنه كان صاحب قلم رشيقالمسرحية تجعلنا في حالة تفكير دائم... أكثر من رواية لقصة موت محارب الساموراي ... والطرفة هنا أن الكل يكذب 🙂 الكل يدعي ولكل إدعاء أسبابه المنطقية ... الصورة تكتمل باكتمال معرفتنا بالحالة الاجتماعية وأصل كل شخصية ونشأتها ... استمتعت كثيرا بهذه المسرحية كنقطة بداية لقراءات العام ... قصيرة طريفة وبالتأكيد سأبحث عن المجموعة القصصية بنفس الإسم

  • Hilâl
    2019-04-06 19:26

    4,5 puan.Kappa’dan sonra neden bu koleksiyonu bu kadar sarkıttığım hakkında hiçbir fikrim yok. Açıkçası çok keyifliydi.Sırasıyla derlenen hikâyeleri yazacak olursak;- Raşômon (Raşômon)- Burun (Hana)- Mendil (Hankaçi)- Örümcek İpi (Kumo no İto)- Cehennem Tablosu (Cigokuhen)- Mandalinalar (Mikan)- Çinli İsa (Nankin no Kirisuto)- Toşişun (Toşişun)- Sonbahar (Aki)- Balo (Butôkay)- Çalılıklar Arasında (Yabu no Naka)- Vagon (Torokko)- Çarklar (Haguruma)- Serap (Şinkiro)Kişisel olarak en beğendiklerim: Elbette Raşômon başı çekiyor, ardından Mendil, Çalılıklar Arasında ve Çarklar. Sanırım Mandalinalar’ı da alabilirim bu kısma.Her biri bambaşka tarzda, temada, duygusallıkta, düşündüğünüzden daha geniş çapta bir derlemeydi. Bazen bazı hikâyelerin teması veya anlatımının beni sarmadığı oldu tabii. Japon tarihiyle çok da alakam olmadığından -yani, ayrıntısal bazda- hikâyelerin geçtiği dönemleri takip etmekte biraz sıkıntı çektiğim ya da hikâyeye zor girdiğim de oldu. Ama dediğim gibi genel olarak çok keyifliydi.Çeviriden pek hoşlanmadım maalesef ve bu kitap redaksiyondan geçti mi acaba diye düşündürecek kadar yazım yanlışı vardı. Bir süredir bu yazım yanlışlarına ilginç bir saplantı geliştirdiğimi hissediyorum.Kitabın sonundaki ek kısım kurtarıcı gibiydi. Akutagava-sensei’nin yaşamından, yazın hayatından, döneminden bahsedilmişti. Hikâyelerin her birine de tek tek genel bakışlar yazılmıştı Oğuz Baykara tarafından. Bu kısmı okuduktan sonra sempatim daha bir arttı diyebilirim, hikâyeler daha bir oturdu.Sanırım Akutagava kadar çok yönlü bir yazar daha görmedim şu ana kadar. Lütfen okuyun.

  • Steven
    2019-03-31 15:41

    Aside from the titular story, Rashomon, this collection of Akutagawa's stories includes In a Grove, Yam Gruel, The Martyr, Kesa and Morito, and The Dragon. Overall, the stories were fascinating in their deceptive simplicity and succinct elegance. The only downside of this edition—beautifully illustrated and nicely introduced—is that it included only six stories. I'll have to get an edition that covers more of the over 150 short stories that Akutagawa wrote throughout his short life."For the sublimity of life culminates in the most precious moment of inspiration." (80)

  • Mona
    2019-03-20 16:42

    First, I am a big fan of Ryunosuke Akutagawa. Second, Akutagawa himself has been acknowledged as one of the greatest Japanese writers. Third, the story "Rashomon" has been admitted as the best story Akutagawa ever wrote. That's why Akira Kurosawa transfered the story into reel.So, none other reason needed to make you read this one.

  • Stephie
    2019-04-05 21:29

    Cuentos cortos, con un tinte de decadencia, sufrimiento, locura y algunos con algo paranormal. Aún no me he definido bien en que puedo pensar de estas historias, pero han resultado ser interesantes.

  • Cody
    2019-04-16 20:30

    Meh. Don't start here if you're new to Akutagawa, though the title story (and Kurosawa's adaptation) still kick major fucking ass.

  • Ana
    2019-04-16 22:35

    Terminado Roshomon y otros cuentos, del maestro Ryunosuke AkutagawaComo en todo libro de cuentos podemos encontrar algunos que nos gustan más que otros, pero en este compilado nos encontramos algo que corre en una línea que caracteriza el autor, como se mezcla la oscuridad con la vida de los protagonistas, igualmente todos tienen algo peculiar y esto es lo interesante de este autor.“Roshomon” es una obra decadente, y no por mala, sino por su contexto de pobreza y decadencia social, llegando a lo más oscuro del corazón humano dando lugar a la perversidad.“La nariz” es de esos cuentos con moraleja que tiene el autor y me resultan de lo más “simpáticos” por decirle de algún modo. Es un cuento que básicamente te dice que no te preocupes por tus defectos físicos.“Kesa y Morito” debe ser el que menos me gustó, todo el tema de la sexualidad de la época en la que se inspira el autor, el tema del desprestigio, el asco llegando al odio, sin dudas me transmitió lo que pretendía, de dejar una sensación de desagrado ante toda la situación. “En el bosque” me fascino, me encantó poder visualizarlo como una obra de teatro, viendo uno por uno los testimonios de cada uno de los involucrados, con el final largue la carcajada aunque fuera de mala persona. De los dos cuentos que más me gustaron.Finalmente la obra magistral de “El biombo del infierno” que también está en otro de sus libros de compilados como una gran obra que no se puede dejar de leer. Es un cuento sumamente macabro, de cómo dos hombres de distintas naturalezas van enloqueciendo, y la adorada hija de uno de estos hombres queda en el medio de sus manipulaciones. El final se ve venir pero no deja de ser igual de impactante.Después el Ebook que leí traía dos cuentitos minúsculos de extras.Uno fue: “Un cuerpo de mujer” intrascendente como la pulga que lo protagoniza, aunque me dejó un sabor agridulce el final.Y Sennin lo comenté aparte, pero para lo que es está muy bien. Es un pequeño cuento en el cual un hombre desea con toda su convicción llegar a ser un sabio similar a un Tengu. Lo impensable cuando pide aprender esto un lugar que da trabajos, pero llega a dar con una manipuladora mujer. Me sorprendió el giro del final. Con esta historia Akutagawa nos deja una lección, de que con convicción, sin importar las adversidades o quienes quieran engañarnos, una persona decidida puede lograr lo que se propone.

  • Abraham Salas
    2019-04-04 20:39

    Interesante puñado de cuentos. Hablan de la oscuridad del ser humano. Lo bajo que puede caer en la consecución de sus propios intereses. Todo ese egoísmo termina mal recompensado en estos cuentos, ya sea con remordimiento, muerte, pesar y, en uno de los casos, con la felicidad de aquel que se suponía sería la víctima, en detrimento de los victimarios. La zozobra proviene algunas veces de la presión por mantener la imagen que dictan las costumbres sociales y que orillan a los personajes a actos extremos. La vanidad; la solución a la reputación manchada según los parámetros de Japón en aquella época; ejemplos de los temas que se ven. -spoilers (tal vez)-Un monje que se preocupa por su aspecto físico; un crimen cuyos testimonios (incluido el del muerto) disparan en direcciones inverosímiles; un hombre que se debate entre ser criminal o justiciero en medio de un panorama sombrío de cadáveres y lluvia en la puerta de Rashomon; un artista que no le importa llevar su arte a las máximas consecuencias, son el tipo de personajes e historias que van a leer en este buen libro recopilatorio.

  • Tfitoby
    2019-04-13 15:32

    They say Akutagawa is a master of modern Japanese literature despite writing just after the turn of the 20th century, he even has major literary awards named after him in Japan but I can't help but feel that 100 year old stories are not that modern. That being said his stories are largely enjoyable and very well written.The effect of the unique storytelling point of view of In A Grove is really quite remarkable and the rest of the stories collected here all manage to conjure up a firm and believable image of pre-Westernised Japan, peopled with interesting and conflicted people and filled with nuance, human flaws and metaphors about the loss of Japanese identity.Other than the story used as a basis for Kurosawa's wonderful movie Rashomon I was not overwhelmed with pleasure at reading these stories. Perhaps I don't have the required knowledge or appreciation of the place and time they were written but I just didn't find myself caring one way or another about the outcome of the stories.

  • Claudia L. R.
    2019-04-01 15:36

    Si bien no puedo decir que los temas que aborda o la forma que los aborda sean de mi total agrado o que siquiera me hayan tocado profundamente, sí puedo y debo decir que la pluma de Akutagawa me mantuvo entretenida y con deseos de seguir leyendo. Eso es todo lo que podía exigir en este momento tan difícil para mí, que me tiene completamente bloqueada literariamente. Los temas son diversos pero todos exploran la cultura del Japón clásico, dejándonos verlo no de forma venerable sino con un aire de decadencia. Muestra la oscuridad de la naturaleza humana y como fácilmente se pueden perder las perspectivas.Me resultó refrescante leer un clásico tan importante como este lo es para la literatura japonesa y encontrarme con una lírica tan amable y agradable. Realmente disfruté muchísimo de esta lectura gracias a eso. Me alegra haber leído este pilar de la literatura japonesa y haberlo disfrutado.

  • Sofía Aguerre
    2019-03-23 15:31

    Cuatro por la calidad de la narración y por el placer al leer. Le daría tres por las historias en sí, que no me llamaron tanto, pero hay que reconocer lo bueno que es, qué sé yo.

  • Sinem A.
    2019-03-30 19:26


  • Phạm Hà
    2019-04-13 18:25

    It's interesting to see where Akira Kurosawa stayed faithful to the original story of Akutagawa and where he took creative initiatives to enrich the story. Akutagawa's "In the grove" only tried to depict the phenomenon of "contradictory interpretation of one same event", and his original "Rashomon" told the story of "how poverty degrade human's conscience" through the symbol of a run-down Rashomon (Gate of Life). On the other hand, Akira's "Rashomon" is a combination of the two stories plus a brighter outlook on humanity. It criticized human's ugly habit of lying to benefit themselves, but he also express the idea that "men are still good" through the final scene (The heavy rain stopped, the peasant decided to raise the orphan he found at Rashomon as his own child).Overall, I would highly recommend this book and the movie of the same name by Akira Kurosawa.

  • Bigsna
    2019-03-30 21:20

    Short stories have always been a a challenge for me, and this is probably the most cryptic set of stories that I have read yet. What is it about these enormously acclaimed Japanese authors of the earlier 20th century. The first I read was Yukio Mishima, who over and above being known for his controversial novels, is most remembered for his ritual suicide by sepukku; and now Ryūnosuke Akutagawa, who is called the "father of the Japanese short story" and has Japan's premier literary award named after him, is also remembered for having killed himself at the age of 35. Their literature and writings seem to have a cult following, because they definitely aren't mass market material - and this is what attracted me to read some of their works.This is a set of 6 tales that essentially explore dimensions of human nature. I don't want to summarize the stories here, but I have to say that after reading each one of them, I looked up analyses online to understand the latent meanings that were clearly evading me - and in some cases I was surprised that I had almost completely missed the point - which in itself was amusing. These are good stories to be read aloud, discussed and ruminated over. A good choice for book club reading. They are not very long, but some of them are complex. The movie Rashomon was made based on two stories from this set and is highly acclaimed even today - with a rating of 8.3 on IMDb. That will be an interesting followup to the book.

  • Mohammed Alamin
    2019-04-16 19:26

    من مقدمة الكتاب ومن معرفتي بأن الكاتب قد وضع حداً لحياته بالانتحار؛ تيقنتُ أني مقبل على كاتب من نفس طراز الكُتّاب الروس، كاتب بنفس الأسلوب الجنائزي؛ أسلوب أرباب الحزن، المحطمين، الكاتبين عن المُهمّشيِن وعن انكسارهم البشري، الواصفين أبعدَ نقطةٍ من مراتب الانحطاط، وهذا ما بدا يتضح من خلال النصوص، وهي جميلةُ، إلى أن وصلت لـ(عصيدة إليام)، لقد نسخ الرجل أكثر من ثلاثة أرباع قصة (المعطف) للروسي نيقولاي غوغول، تبديل بسيط في أسماء الشخصيات والعصر، حتى الفقرة الشهيرة لـ(أكاكي أكافيتش) بطل المعطف: "دعوني في حالي لماذا تهينونني؟"، المقابل لها في قصة (عصيدة إليام) على لسان (جوي)، بتعابير وجهه التي تحار فيما كان يبتسم أو يبكي: "لما فعلتم ذلك"؟أظن أن القصة التي يجب أن نضعها تحت المجهر هنا، هي القصة الأولى بتقنيتها وصنعتها الفريدة، بالغة التعقيد: "في غابة"، محاولين سبر أغوار الاعترافات، والتي تبدو مستحيلة جداً، مبتغين معرفة كيف تتحول طبائع الناس بحسب الأحداث، وأي الروايات هي الصحيحة؟ لا شيء مؤكّد، الغموض، الغموض لا شيء غيره.

  • Axolotl
    2019-03-25 17:27

    Justin Isis tells me the translation is so-so but I still thought the stories were entertaining. Really quite memorable: The Lover who is no longer in love but acts like an automaton of solipsistic passion; the dragon in the lake as a metaphor for what writers can do with their handy work, that is "write what happens"; an encounter with the scalp-scavenging crone in halls of a darkened tower in the rainy season; multiple povs of multiple unreliable witnesses---this little collection is really quite fascinating and makes me long for more encounters with the work of Ryunouke Akutagawa. I have seen Kurosawa's Rashomon but actually Akutagawa's story is not the one called "Rashomon" but "In a Grove", both stories are excellent but "In a Grove" is really something astounding, as the film Rashomon, is in a different way.

  • marie
    2019-03-28 15:21

    I read two from a collection of Akutagawa's short stories: "Rashomon" and "In A Bamboo Grove". My first reaction was: he's so modern! The 2 stories are like thrillers, suspenseful, with unexpected twists. "In A Bamboo Grove" is a sophisticated story of an event seen from different perspectives. The reader is forced to think what the most plausible narrative is as the truth is left hanging ----there is nothing cut-and dried here.The author's story is almost as fascinating as his 2 short stories, too.