Category Archives: Japan

by | 1 September 2010 · 5:06 am

On Rewriting While Translating

From Edo Culture: Daily Life and Diversions in Urban Japan, 1600–1868, by Nishiyama Matsunosuke, trans. and ed. by Gerald Groemer (U. Hawai‘i Press, 1997), pp. 3-4:

In translating I have striven to remain faithful to the spirit rather than the letter of Nishiyama’s prose. Some therefore may wish to label this book an adaptation rather than a translation. Nishiyama writing style is stiff and often thrives more on a general tone of enthusiasm for the subject than on logical connections between sentences or paragraphs. Such a style, informed by the conviction that a good point bears repetition and that the relevance of an example need not be clarified until the very end of a section, entirely rules out literal translation. I have thus pruned judiciously, rewritten, rethought sentence and paragraph order, but refrained from adding anything substantially new to Nishiyama’s writing. The only exceptions to this rule are a few brief definitions of terms unlikely to be known to a nonspecialist Anglophone readership and, moreover, the endings of Chapters 7, 8, and 9. In the original, these chapters simply stop when Nishiyama has run out of things to say. Such a writing style, common enough in Japanese academic prose, often irritates Western readers, who tend to prefer more synthetic conclusions. In these chapters, therefore, I have added summaries of Nishiyama’s major points, thereby bringing the chapter to a smoother close while not adding anything new.

Since the studies translated here were not conceived by Nishiyama as forming one volume, much material is repeated. In some cases I have simply excised such duplication. The largest cut occurs in Chapter 6. Here I have eliminated or moved to other chapters most of the information that is presented in the first half of the original study, which repeats much of what has already been translated as Chapters 1 through 5. All major changes have been discussed with Professor Nishiyama, who himself occasionally suggested alterations and corrections.

Documentation in the original studies is often lacking and sometimes erroneous. In an effort to complete as many references as possible, I have started from scratch. Unless otherwise indicated, therefore, all notes are by the translator. Rechecking sources has allowed me to uncover several errors and misprints, which have been silently corrected after confirmation by the author.

The selection of illustrations and maps, the transcription of musical examples, and the production of the glossary are also my responsibility. Other editorial additions include dates and footnoted biographical information on individuals, details of geographical location of small towns and villages, variant names and performance dates of kabuki plays or musical works, and dates of publication of books. Names of individuals have presented a special problem, since Nishiyama endows the use of pseudonyms (geimei) with a special significance. Edo-period writers, actors, musicians, and artists often assumed a large variety of pseudonyms, forcing the translator to select one of several names for the sake of consistency. I have generally selected the name most likely to appear in biographical dictionaries.

Translating the titles of books or kabuki plays presents yet other obstacles. Titles of novels, plays, or collections of poetry are often the source of cryptic puns—and in cases where a work no longer exists, the exact reading and meaning of the title are anybody’s guess. For extant books I have usually followed the reading of titles found in the Kokusho sōmokuroku. Kabuki titles are given in the version most likely to appear in kabuki dictionaries; alternative titles are given in the notes. A rough translation of a title’s most obvious meaning follows the original in parentheses; when such a translation appears in italics, this indicates that the book has been published under this title in English. The reader should note that the names of Buddhist temples end with the syllables ji, in, tera, or dera; Shinto shrines often end with sha, gu, or miya.

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by | 16 August 2010 · 4:30 pm

New Scholarship on Wartime Kabuki, 1931–1945

The latest issue of Asian Theatre Journal (via Project MUSE) contains a review (by UCLA’s Carol Fisher Sorgenfrei) of James Brandon’s myth-shattering new book, Kabuki’s Forgotten War: 1931–1945 (U. Hawai‘i Press, 2009). Here are a few snippets to give a flavor of how stunningly revisionist the book is.

It was in 2002, at a conference honoring the work of Leonard C. Pronko, that I first heard James R. Brandon present the extraordinary research he was doing on kabuki during what the Japanese call the Fifteen-Year War, the last four years of which encompass the Pacific War of World War II. I will never forget the shock waves in the room as he showed slides and told us about a wartime kabuki play called Three Heroic Human Bombs. Here were kabuki actors performing in 1932, dressed in modern military uniforms, looking for all the world like realistic film actors, carrying bombs as they slogged through mud and barbed wire toward a glorious suicide during Japan’s war in China. And then he told us about other new plays from that period, starring famous kabuki actors performing alongside (gasp!) actresses—not onnagata, but females from shinpa and shingeki. The actors wore realistic, contemporary costumes without a trace of kabuki’s makeup or wigs, and there was nary a musician in sight. How could these contemporary propaganda plays about military exploits and home front patriotism be kabuki? We all thought we knew what kabuki was, but suddenly the hard-earned knowledge of about a hundred scholars was totally shattered….

As Brandon correctly notes, the war years have been studied extensively from many cultural and political perspectives, but this is the first book in any language (including Japanese) to focus on the wartime history of kabuki. Despite a few notable exceptions, in most Japanese histories of kabuki, “the war years are simply erased” (p. x)….

The book demonstrates kabuki’s often enthusiastic complicity with Japan’s militarist and imperialist exploits during the 1931–1945 war years, and also puts the situation of kabuki in clear historical perspective. During the early, successful years of the war, kabuki actors and playwrights were in great demand, and they performed many jingoistic, patriotic works. Nevertheless, most actors chose to remember things differently after the war. Brandon quotes from Ichikawa Ennosuke II’s postwar memoir: “The five years of the Pacific War was a dark period, a time of suffering for performers.” Brandon then comments:

Like most others, Ennosuke did not see himself as a participant in the war. Forgotten were his morale performances in Manchuria, flying to China to gather authentic war material, and the many heroic-soldier roles he enacted in war plays. In portraying himself as a victim of the war and dwelling only on the horrors of the war’s end, Ennosuke (and others) erased the victorious years, 1931–1943, when life was good for kabuki artists because of the war.

During the war, kabuki continued its centuries-long tradition of “overnight pickles” (ichiyazuke), plays based on contemporary events that were written and staged within weeks or even days of the actual occurrence. An early wartime “overnight pickle” (when things were still very good for kabuki) dealt with the 1942 capture of Singapore aided by the daring exploits of a young Japanese man whom the popular press dubbed “The Tiger of Malaya.” Brandon notes that more than one hundred kabuki overnight pickle plays were written and set during the Fifteen-Year War….

Brandon argues that official support for such morale-boosting kabuki performances, despite overwhelming evidence that Japan was nearing a disastrous defeat, offers a case study supporting the contention that without the atomic bombing, Japan would never have surrendered. He notes that the Japanese cabinet voted numerous times to continue fighting despite the destruction of nearly half of Japan’s urban areas and devastating losses in the Pacific. He offers the bizarre case of playwright Kikuta Kazuo, who wrote many anti-American, prowar plays for both Shōchiku and Tōhō, as further proof that the government was in total denial regarding Japan’s imminent defeat. Kikuta described what it was like to be one of the last members of the Japan Dramatists’ Association to remain in Tokyo after massive American firebombing began in March 1945. The Bureau of Information considered the Dramatists’ Association’s purpose to be “to gain victory in the war.”

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by | 15 August 2010 · 5:08 pm

Will Japan Surrender Its Economy This Time?

Japan surrendered 65 years ago today, after decades of initially triumphant and then draining military conflict marked by official denial of any possibility of losing militarily until the very day of surrender. A recent op-ed in the Christian Science Monitor by a financial investment researcher suggests Japan is going to lose its formerly triumphant economic “war” in the same way (with lessons for the U.S. and other debt-ridden economies).

Investors are understandably scared of the sovereign debt crisis unfolding in Europe, but they are ignoring a more definite and significantly larger sovereign debt catastrophe that is about to hit the world’s third-largest economy: Japan.

The prelude to Japan’s current crisis began in the early 1990s when its housing and stock market bubbles popped, leading to recession.

For the next 20 years, using flashy names like Fiscal Structural Reform Act, and Emergency Employment Measures, and Policy Measures of Economic Rebirth, the government cut taxes, increased spending, and borrowed money to finance itself. Once or twice the government found fiscal religion and raised taxes; however, the economy stuttered and taxes again were lowered and the stimulus story continued.

Today, 20 years into endless stimuli, the Japanese economy is beset by the same rot it was then, except that its debt has tripled – the ratio of debt to gross domestic product (GDP) stands at almost 200 percent, double those of the United States and Germany, and second only to Zimbabwe….

A country that has ballooning debt needs to have an expanding economy to help the country outgrow its debt burden. Economic growth is driven by two factors, productivity and population growth. Though the Japanese economy may continue to reap the benefits of productivity, population growth is not in the cards.

Japan has one of the oldest societies in the developed world; every fourth Japanese person is over 65 years of age, and the population is shrinking. Due to cultural mores, workers are largely compensated not on merit but on seniority. Thus, young adults marry later in life, and have kids later.

This helps explain why the Japanese birthrate is one of the lowest in the world, a meager 1.37 per woman, well below the 2.1 figure needed to sustain a population….

Though debt has tripled over the past two decades, government spending on interest payments has not changed; in fact it even declined a little in the mid-2000s. This happened because the government’s average interest rate paid on its debt declined from more than 6 percent in the 1990s to 1.4 percent in 2009.

This is about to change. Historically, more than 90 percent of Japanese government-issued debt was consumed internally by its citizens, directly or through its pension system. In the 1990s, the savings rate was very high, pushing the mid-teens, but as people get older, they retire and start drawing down their savings and pensions. Today, the Japanese savings rate is approaching zero, and will probably go negative in the not-so-distant future.

The Japanese economy operates on the (soon-to-be-proved-false) assumption that the government will always be able to borrow at low interest rates. As internal demand for debt evaporates – and it’s approaching this level already – the Japanese government will have to start hocking its debt outside Japan.

When it does, it will face a rude shock in the form of higher interest payments. Japanese 10-year Treasuries now yielding 1.0 percent will not stand a chance against US or German bonds of the same maturities that yield 2.89 percent and 2.59 percent, respectively….

Along with China, Japan is the one of the largest holders of US government debt, and its demand for our fine paper will decline. Most likely, Japan will start selling Treasuries. And to make things worse, Japan will start competing with the US, not just in cars and electronics, but for buyers of sovereign government debt. Japan will export inflation, inflation will rise globally, and so will interest rates.

Had I written a similar article five years ago, I would have been “wrong,” as today the Japanese economy is still ticking. Timing bubbles – and Japan is in the late stages of an enormous debt bubble – is very difficult, as bubbles tend to last longer than rational observers expect. But every year that the Japanese bubble doesn’t burst and debt swells, the eventual pop just grows more catastrophic.

Japan is past the point of no return; its fiscal and demographic problems were created over decades and will take decades to be resolved. In the meantime, its citizens will pay the painful price. Japan is proof that a country cannot borrow itself to prosperity.

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by | 10 July 2010 · 1:15 pm

Wordcatcher Tales: Akasuri

At the end of a long day’s excursion last summer that included being caught in a downpour in Kyoto’s Arashiyama district, my friend and host suggested we visit her favorite local bathhouse back in Osaka. I hadn’t been to a Japanese public bathhouse in many years, and this was the fanciest one I have ever been to.

It had a noisy game room below but a large expanse of many different indoor and outdoor pools on the top floor. I sampled most of them during the hour I had until my appointment for a massage: the hot tub, the cold tub, the large outdoor pool under the dark sky, and the line of individual tubs, quickly retreating from the first one I tried, which greeted my entering leg with a mild but unexpected electrical charge. There weren’t many of us in the men’s side; I often had the tubs to myself. Finally, worried about missing my appointment, I sat marinating in the rosemary herbal pool, which had a clock on the wall big enough for me to read without my glasses.

垢擦り akasuri ‘cloth/pumice/loofah for rubbing body’ (lit. ‘scurf-chafing’) – My friend, who went in the women’s side, had chosen the basic akasuri exfoliating rubdown, rather than the Swedish or shiatsu or other massage. I had never tried that one, so I chose the same. She had told me that the masseuses on the women’s side were middle-aged ethnic Koreans. In fact, I would guess the bathhouse complex itself was owned by members of Osaka’s huge ethnic Korean population.

The masseuses on the men’s side were also sturdy middle-aged ladies. I didn’t ask their age or ethnicity. In fact, I was far too relaxed to be as inquisitive as I often am in Japanese restaurants. There was only one other man on a massage table when I showed up, and a different one on another table by the time I finished. In the meantime, the masseuse abraded every inch of my skin—apart from face and genitals (always carefully covered by a washcloth)—first with an astringent, then with a light oil.

By the end my skin felt as smooth as it ever has in my adult life. Although I was a little bit too raw in a few places, I felt ‘grime-free’, that is, 垢抜け akanuke ‘elegant, urbane’. A proper chafing leaves one more refined, as in 人擦れ hitozure ‘(person-abrasion =) sophistication’, even too refined, as in 悪擦れ waruzure ‘(bad-abrasion =) oversophistication’. But improper chafing can leave a 擦り傷 surikizu ‘(scrape-wound =) abrasion, scratch’ or a 床擦れ tokozure ‘bedsore’.

The more generic term for traditional ‘massage’ or ‘masseuse, masseur’ in Japanese is 按摩 anma lit. ‘press-rub’. The two kanji for ‘rub’ and ‘scrape’ combine in the Sino-Japanese compound 摩擦 masatsu ‘friction’, as in 摩擦音 masatsuon ‘fricative sound’.

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by | 8 July 2010 · 9:49 am

Wordcatcher Tales: Noukanshi, Encoffiner

納棺師 noukanshi ‘encoffiner’ (lit. ‘closing-coffin-master’) – I learned both a new Japanese word and a new English gloss from watching the Japanese movie, Departures (おくりびと Okuribito lit. ‘sender, dispatcher’, 2008), about a cellist who became an encoffiner. I initially scoffed at its premise and was not overly impressed by its Academy Award for Best Foreign Language Film in 2009, but decided to give it a try, as much for its potential musicality as its morbidity.

It far exceeded my expectations on both counts. Although quintessentially Japanese in so many ways, it could be adapted to every other human culture on earth—even Neanderthals, who buried their dead with some indications of ritual. The original cello score by “Joe Hisaishi” (久石 譲 = Kuishi Joe < “Quincy Jones”) was an added bonus, as was the interview with the director, so full of surprises. Highly recommended, despite being recent and award-winning!

In Japan, the 納棺師 noukanshi ‘encoffiner’ is hired by the 葬儀屋 sougiya ‘funeral director’. Not so long ago (perhaps even nowadays), anyone who was hired to handle dead bodies, or even leather, would have been of outcast status, although until recently the family of the deceased would more likely have been responsible for preparing the body.

In fact, a more traditional, less exalted, and more sexist term for the same role appears in the 1996 novel by Aoki Shinmon that inspired the film, 納棺夫日記 Noukanfu nikki (‘encoffiner diary’). The 夫 fu on the end of 納棺夫 noukanfu literally means ‘man, husband’ (in the latter meaning usually pronounced otto or fuu) but implies a manual laborer, as in 田夫 denpu ‘peasant (field hand)’, 農夫 noufu ‘farmer (farm hand)’, 牧夫 bokufu ‘herder (ranch hand)’, 漁夫 gyofu ‘fisherman’, 工夫 koufu ‘coolie, workman’, or 車夫 shafu ‘rickshaw man’. As one might expect, the role of encoffiner is often performed by women.

In the film, the encoffiner—in full view of the assembled family—carefully exchanges the deceased’s bedclothes for a typical sleeping yukata without ever showing more than the corpse’s head, feet, and forearms; then reaches under the yukata to wipe down the body and plug its orifices; then carefully dresses the body in funeral garb, applies cosmetics, arranges the hair, crosses the feet, and clasps the hands to make it ready for placement and viewing in the coffin. After the wake and religious funeral, the body is cremated inside its wooden coffin.

The job title of the noukanshi is not easy to translate into English. Although he prepares the body for public viewing, he doesn’t embalm it (out of public view in a morgue), so ’embalmer’ is not a good gloss. Although he performs a comforting ritual in the family’s presence, he handles only one phase of the death ritual, unlike today’s multitasking morticians, undertakers, or funeral directors. Nor does he add any religious message, as would an imam, pastor, priest, or rabbi. So encoffiner seems as good a gloss as any. Even though most of its attestations in cyberspace seem to postdate this film—as does 納棺師 in Japanese Wikipedia—the related term encoffinment (especially premature encoffinment!) has a longer pedigree.

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by | 4 July 2010 · 11:21 am

The Making of “Uncle Goat”

From: Comfort All Who Mourn: The Life Story of Herbert and Madeline Nicholson, by Herbert V. Nicholson and Margaret Wilke (Bookmates International, 1982), pp. 137-140:

We sailed for Japan on the Flying Scud with two hundred fifty goats. Dick Clark, an expert photographer, was on board with color movie film to record the trip. When it was over he edited some two thousand feet of film into “Ambaassadors of Peace,” the record of our trip with the emphasis on “baa.” Besides Dick and his camera there was Al Brower, a ventriloquist with his doll Bill, Les Yoder, a Mennonite young man who came along to help, and Ty Nagano, a Nisei.

We arrived in May, which happened to be kidding time. We started with two hundred fifty goats and landed with two hundred sixty five! Just before we reached Yokohama, I was called from bed in the middle of the night. There was trouble in the maternity ward. I found “Temperance,” given by the Women’s Christian Temperance Union, in agony. She was having a breech delivery. Everyone was standing around not knowing what to do, so I rolled up my sleeves to help. I managed to get hold of the kid’s legs and pulled while Temperance pushed, and out came a beautiful large doe. We named her Kiyoko, which means “pure.”

When we landed in Yokohama, there was a welcome meeting for us. On that occasion, I told the story of a young Nisei girl, Satomi Yasui, and her family in America who had raised four goats for our project. The Japanese Vice-Minister for Agriculture who was present at the meeting told me afterward that I should tell the story over the radio for the children’s hour. So I went to the NHK (Japanese Broadcasting Company) office in Tokyo, but I was told that getting clearance for me to speak on the air would take six months.

Instead, I told the story to a newsman, a reporter for the women’s hour, and to a young man for the children’s hour. The young man elaborated on my story in his talk over the air. Another man heard the program and wrote it down for a large children’s magazine, adding even more changes. Finally, with more additions, the story was put into a fifth grade reader, and I became known as “Uncle Goat.”

In the reader, the story was no longer about Satomi, but about a boy named Harry whose father had been killed in the war with Japan. It was a very touching story about the sympathetic love of a lad who sacrificed to send a goat to the children of the man who had killed his father. In later years the printing of that story in the reader opened the way for me to speak in many schools all over Japan where I might otherwise never have had the opportunity….

At Honolulu [on the way back home to the States] I was “bumped off” the flight for someone of higher priority. It was four days before I could get another flight, so I used the time to tell the people in Hawaii about the goat project. The Okinawans living in Hawaii sent me a total of $35,000 for goats as a result of that visit. With the money, Heifers for Relief was able to send over five thousand goats to both Japan and Okinawa. After four wonderful days I made it back to San Francisco just in time to help send off the next load of goats.

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by | 4 July 2010 · 8:08 am

The Heifer Project’s First Goats for Okinawa

From: Comfort All Who Mourn: The Life Story of Herbert and Madeline Nicholson, by Herbert V. Nicholson and Margaret Wilke (Bookmates International, 1982), pp. 127-129:

An organization called Heifers for Relief, sponsored by the Church of the Brethren, decided to accept my offer to raise money and take goats to war-torn Japan.

Milk was in desperately short supply overseas and the Japanese children were being severely affected by the shortage. Ordinarily the Heifer project sent only bred heifers to ravaged areas. In this case, goats answered the need more readily, so goats were sent for the first time in its history. Later they sent all sorts of farm animals to many countries and aided poor farmers in the United States as well.*

When I received approval of the goat project I went to work. I raised a good part of the money and bought most of the goats myself. Then I gathered a little group of men to accompany me on the first trip. Sim Togasaki, a Nisei from San Francisco, wanted to come because he needed to make contacts in Japan for his importing business. Although he knew nothing about goats, he was a hard worker and a great help because he spoke fluent Japanese. Ted Roberts, a dairyman who had always been interested in the Japanese, and Paul McCracken, a goat expert, also came with us. Paul was a Quaker, too, so I was glad to have him along. My son Samuel also came. He took color slides everywhere which later were a great help in raising money for more goats.

In October, 1947, we arrived in San Francisco ready to load up for a trip when we found, to our great disappointment, that the Army had decided to send us to Okinawa rather than Japan! The following load would be scheduled for Japan. That disappointment was to become God’s surprise for us. What lay ahead was a wonderful adventure.

The Army had built pens for our two hundred goats on the rear deck of the Simon Benson, a small liberty ship which was not in good shape. We had a rough trip across the Pacific and were very relieved when we reached Okinawa safely. Later we learned that on its next trip the ship had split open! It was easy to believe.

Our arrival in Okinawa was an unforgettable experience. The harbor at Naha was full of sunken ships. The city had been completely destroyed. We could only stare in shock and pity.

We received a warm welcome and were greeted by the governor and other dignitaries. It was a delight to discover that Mr. Shikiya, the governor, was a Christian. After the ceremonies, in which we presented a goat to the community, we milked the remainder of our goats and took the milk to an orphanage.

We discovered that we were to be housed at the Military Government Headquarters across the island from Naha. Our escort there was a former missionary to Japan, Everett Thompson, who was in charge of LARA (Licensed Agencies for Relief in Asia). The occupation forces did not want to work with a lot of separate relief organizations, so they formed this agency to coordinate all relief efforts. The Heifer project joined LARA, as did the Church World Service, the Friends’ Service Committee, and many others.

At the Military Government Headquarters we were taken to the officers’ quarters. What a surprise to discover that we goatherds were classed as colonels.

* Nicholson seems to have been unaware that the Heifer project had already been sending horses and chickens as well as cattle to war-torn Europe in 1946.

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by | 3 July 2010 · 7:19 am

Sumo: Another Basho, Another Scandal

I was hoping to watch some TV coverage of the upcoming sumo basho while on vacation in Japan later this month, but yesterday’s Christian Science Monitor explains why that may not be possible. Japanese sumo scandals threaten to topple Nagoya tournament.

Japanese sumo scandals involving gambling and mob ties could upend an upcoming Nagoya tournament. Friday, public broadcaster NHK made the unprecedented threat to pull coverage of the tournament.

The uncovering of an illegal mob-run gambling ring in sumo has further tarnished Japan’s centuries-old national sport after a string of recent scandals and may lead to the first cancellation of a tournament in the postwar era. Sponsors have pulled out of the Nagoya Basho (tournament) – due to start July 11 – after dozens of wrestlers, senior officials, and others involved in the sport admitted gambling on baseball through a syndicate run by yakuza, or mafia.

Japan’s public broadcasting network, NHK, added to the sport’s woes Friday by announcing it might drop coverage of the event. The network said it had received 8,200 public comments, only about 10 percent of which supported going ahead with airing the Nagoya Basho….

Legal gambling in Japan is restricted to on-site betting on horses, speedboats, and cycling – all government-controlled. In addition there is the huge gray area of pachinko, a kind of vertical pinball game….

Many previous scandals of recent years have been centered round foreign wrestlers, much to Japanese relief. In 2008, three Russian grapplers were expelled for drug use, though a Japanese national also later tested positive. This year, grand champion Asashoryu – the third-most successful wrestler in sumo history and a Mongolian – had to retire after allegedly beating someone while on a drunken night out during the Tokyo Basho (which he went on to win).

But foreigners can’t always be blamed: In May, as the betting scandal unfolded, it emerged that stable-masters had given ringside seats to yakuza bosses at tournaments. The mobsters allegedly wanted to be seen by incarcerated gang members on the NHK broadcasts. The JSA took the unprecedented step of disbanding one of the sumo stables involved.

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by | 25 June 2010 · 3:30 pm

Wordcatcher Tales: Ittouhei, Haiboku

I learned my first two Japanese terms for military ranks from watching The Adventures of Rin Tin Tin on Japanese TV during the 1950s. In the dubbed Japanese dialogue, the lieutenant was addressed as 中尉 chuui and the sergeant as 軍曹 gunsou. But I never learned the terms for the lowest ranks until I recently watched an epic film trilogy from the same era, The Human Condition (人間の條件, Ningen no jouken) via Netflix. It is very long and often slow-paced, but fascinating for both historical and linguistic reasons. It starkly depicts both the brutality of Japan’s occupation of Manchuria and the deadly and chaotic aftermath of Japan’s defeat there. Based on a novel, it also reflects the personal experience of the director, Kobayashi Masaaki (小林 正樹), a university-educated pacifist who refused to become an officer when drafted to serve in Manchuria.

The film chronicles the gradual erosion of socialist ideals in the face of insurmountable realities. The lead character first fails to transform a Japanese mine employing Chinese slave labor into a more humane and efficient enterprise. After being drafted for insubordination and joining a labor battalion, where he takes many a beating without fighting back, he is eventually forced to fire his weapon and kill an enemy soldier when Soviet tanks overrun his hapless platoon. As a prisoner of war, he finds that life under communism falls far short of the egalitarian paradise that he had imagined when he had earlier considered defecting. The Soviets treat him just as brutally as the Japanese imperialists treated their slave laborers. After he escapes, he ends up becoming a leader despite his low rank, forced to make life or death decisions about the fate of starving Japanese soldiers and colonists straggling back toward their homeland.

一等兵 ittouhei ‘Private, PV2‘ – (Japanese Wikipedia offers the most thorough compilation of terms for military ranks in multiple languages that I have found so far.) The rank just below 一等兵 ittouhei (lit. ‘1st-level solider’) ‘PV2’ is 二等兵 nitouhei (lit. ‘2nd-level soldier’) ‘Private, PV1’ and the rank just above it is 上等兵 joutouhei (lit. ‘upper-level soldier’) ‘Private First Class, PFC’.

When I faced the draft after dropping out of college in 1969, I had rather pacifist tendencies, which were fortunately never tested in real conflict. I opted for language school rather than Officer Candidate School, and never even had to fire a weapon after basic training. As company clerk, I would just qualify myself on paper. By the time I got out in 1972, I had reached the rank of SP5, a rank abolished in 1985 that corresponds the lowest level of SGT.

敗北 haiboku (lit. ‘lose-north’) ‘defeat, rout’ – The Human Condition (人間の條件, Ningen no jouken) set of DVDs from Netflix contains 3 interviews: one not very remarkable one with the director, Kobayashi; a much more recent and interesting one with the star, Nakadai Tetsuya (仲代 達矢), who many years later starred in Kurosawa’s classic Ran; and a truly excellent retrospective with Shinoda Masahiro (篠田 正浩), who puts the trilogy in much broader context.

Shinoda uses a lot of contemporary gairai-go, but the word he uses for Japan’s defeat is 敗北 haiboku (lit. ‘lose-north’), a word that goes back to the Heike Monogatari, about the epic struggle for supremacy in 12th-century Japan between two clans, the Taira (or Heike) and Minamoto (Genji). One of its synonyms is 敗走 haisou (‘lose-run’).

So what does 北 ‘north’ have to do with fleeing a lost battlefield? Does it suggest retreating to the northern frontier of Heian Japan, that is, northern Honshu? Or does it suggest losing the north at your back, as the imperial palaces were oriented in Kyoto, Seoul, Beijing, Xian, and other capitals within the Sinosphere? In modern Mandarin, the term 败北 bàiběi (‘lose-north’) is literary, implying it goes back a long way and was not adopted from Japanese (as many modern coinages were). The more common way to write ‘defeat’ in Chinese is 打败 dǎbài (‘hit-lose’).

UPDATE: Matt of No-sword has a few observations about the Japanese association of 北 ‘north’ with flight from battle and with death.

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by | 27 May 2010 · 6:47 am

Wordcatcher Tales: Kamaboko heisha

While poking around looking for something else in my Spahn & Hadamitzky Japanese Character Dictionary: With Compound Lookup via Any Kanji (Nichigai Associates, 1989), I came across a wonderful, but sadly obsolescent compound, 蒲鉾兵舎 kamaboko heisha, which seems to be yielding to a katakanago loan from English: クォンセット kuonsetto ‘Quonset hut’. A Quonset hut is a Kamaboko(-shaped) barracks. Nice image.

The 舎 sha of 兵舎 heisha ‘barracks (lit. soldier-lodge)’ also occurs in 牛舎gyuusha ‘cowshed’, 鶏舎 keisha ‘chicken coop’, 犬舎 kensha ‘dog kennel’, 豚舎 tonsha ‘pigpen’, and 田舎 inaka ‘countryside (lit. paddy-lodge)’. It indicates a fairly rustic or rudimentary sort of accommodation.

The kanji components of 蒲鉾 kamaboko ‘boiled fish paste, fish cake’ are less straightforward. The 鉾 hoko is a kind of heavy pole weapon more commonly written 矛, which Spahn and Hadamitzky gloss rather loosely as ‘halberd‘, which has a much more complicated head on it. I suppose the fish paste is (or was) extruded into long spears before being cut and packaged into standard blocks.

The character 蒲 is usually pronounced gama and means ‘cattail, bulrush‘ (although many people seem to confuse it with 蝦蟇 gama ‘bullfrog’). A couple of summers ago in Japan, we met two of my wife’s former students who hailed from 蒲郡 Gamagōri on the coast below Nagoya. One tutored English and the other tutored Italian, and they both admitted to being mildly embarrassed to tell people they were from an outlying district whose name can be translated as ‘Cattail County’.

The principal Sino-Japanese reading of 蒲 is FU, as in 蒲団 (usu. 布団) futon, but it can also occur in a crazy kanji representation of tampopo ‘dandelion’, 蒲公英, which is usually written in kana.

Even though its use may be fading with regard to Quonset huts, the modifier かまぼこ型 or カマボコ型 kamaboko-gata ‘kamaboko-shape’ still thrives as a descriptor of all manner of semicylindrical objects, like some kamaboko-gata pataa ‘mallet putters’ in golf.

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