LIT 365: Morrison Study Guide for Nagai Kaf The River Sumida (Sumidagawa, 1909) Nagai Kafs

(1879-1959) The River Sumida (Sumidagawa, 1909) is the story of a year in the life of Chkichi, a seventeen-year-old boy torn between his obligation to his mother to finish school and his longing to be part of the world of the traditional theater. Most of the events of the story occur during the four seasonal fushime, or periods of seasonal transition. This fact is significant because the work as a whole can be seen as a meditation on transitions, not only of the seasonal type, but of personal transitions from youthful innocence to the realm of experience, as well as of the larger, more turbulent historical transition from the traditional culture of the Edo period to the civilization and enlightenment (bunmei kaika) of the modern Meiji period. The story begins at the fushime between late summer and early autumn, and finishes in the early stage of summer. R. Shaldjian Morrison http://www.beholdmyswarthyface.com/2007/10/river-sumida-by-nagai-kaf.htm l) Terms/Places/Cultural Particularities Provide a short description/definition of the following terms. (Note: I have already begun to fill out some of them for you.) Also, spend a day walking around the shitamachi (Asakusa, Sumidagawa, etc.) region of Tokyo, locating as many of the places mentioned in the work as possible. 1. Sumidagawa : 2. Asakusa : Center of the old shitamachi (downtown), and the major entertainment district of Tokyo until the Taish period. The area is also known for its various Buddhist temples, the most famous of which is the Sensji, which is dedicated to the bodhisattva Kannon. 3. Imado : 4. Koume : 5. Honjo : 6. Hikifune Canal : 7. Azuma Bridge : swarming with people (210). 8. Narihira Bridge : 9. Inari Shrine :

10. Matchi Hill (Matsuchiyama) : Hill above Asakusa. 11. Imado Hachiman-g : In the story, where the New Years festivities are held. 12. Komagome : Where Rankichis father is currently buried. 13. Yanaka : Possible new site for burial. 14. Koishikawa : Site of the Sagamiya pawn shop. 15. Yoshich : Geisha house where O-ito is to be employed. 16. Sanya Canal : 17. Keiyji Temple : 18. Imado Bridge : 19. Chmeiji Temple : 20. Yoshiwara : 21. Jikatamachi : Where O-ito and Chkichi were grammar school students together. 22. Miyatoza Theater : Regarded by aficionados as the last holdout of Edo-period Kabuki, the theatre was still in business during the Taisho period, though by then it was competing with music halls and motion picture palaces (Mansfield, Tokyo: A Cultural History, 121). 23. Hashiba : The lady who notices O-itos beauty is from Hashiba. 24. Matsubaya : Location of the geisha house where O-ito now works. 25. Kaminarimon (Thunder Gate): The first of two large torii-style gates leading to the Sensji in Asakusa. First built in the seventh century, it has long since been the symbol of Asakusa. The rokku or Sixth District was in particular famous as a theater district, featuring famous cinemas such as the Denkikan. 26. Komagata : 27. Kuramae : 28. Bakuroch : 29. Asakusa Bridge : In the stalker chapter, Chkichi wanders from Komagata to Kuramae to Asakusabashi to Bakuroch (194). 30. Meiji Theater : Theater in Nihonbashi. First constructed in 1873. 31. Rygoku Bridge : 32. Shinbashi : 33. Tshg Shrine : The shrine where Chkichi meditates. 34. Dryji Temple: Where Rangetsu buys a jar of sweets. 35. Awashima Shrine :

36. Shintomiza Theater : Also known as the Morita-za (or ). One of the major Kabuki theaters of the Edo period. Destroyed in the 1923 earthquake. Located in the Kobiki-ch district of Edo. During the early twentieth century, Ii Yhs (1871-1932) troupe often performed here. 37. Ryganji : Temple in Kameido. Chkichi and Ragetsu walk during their chat. 38. Oshiage Canal : 39. Mykenji Temple : 40. Tenjin Shrine : 41. Tenjin Bridge : 42. Miyako Shinbun : 43. Tokiwazu School : Tokiwazu-bushi is generally abbreviated as Tokiwazu. Tokiwazu is a school of Jruri, and originated in Bungo-bushi, founded by Miyakoji Bungonojo. In Kabuki, Tokiwazu is mainly responsible for Degatari (onstage performance) as the accompaniment for Buy (dance). Tokiwazu group consists of reciters called Tay, and Shamisenkata (shamisen players). The shamisen used are chuzao (medium-neck). The distinction of Tokiwazu-bushi is that it is slower-paced and more solemn than Kiyomoto music. 44. Ballad of Koina and Hanbei (Koina Hanbei mono ): A story of violent but steadfast love between a geisha and a man of the merchant class. It is to be found in several schools of Edo balladry, including Tokiwazu (Seidenstickers note). 45. Spring Colors: A Plum Calendar (Shunshoku umegoyomi ): A ninjbon written by Tamenaga Shunsui between 1832 and 1833. 46. Ballad of O-sai and Hachirbei: 47. The Love of Izayoi and Seishin (): A (failed) love suicide play written by Kawatake Mokuami (1816-1893) in 1859, included in Kosode Soga Azami no ironui ). The play is about Seishin, a Buddhist monk, and the courtesan Izayoi, who in the end tragically take their own lives. In Kafs story, the play is performed by theater group at Miyatoza. The scene where Chkichi is waiting for O-ito is echoed in the play (204: The singers took up again. . .). The play is also known as Satomoyou azumi no ironui (four-part Kizewamono style play). For an English translation, see Love of Izayoi and Seishin, a Kabuki Play, translated by Frank T. Motofuji (1966). 48. Nagauta : literally, long song. 49. Sanja Festival : 50. Djji : N play; also, the type of dance that is performed by O-ito in the Sanja festival (189). 51. Otori Matsuri (Tori no ichi):

52. Senzoku Street : 53. Kiyomoto : A style of narrative music, originating in the Tomimoto style, and created by Kiyomoto Enjuday I in 1814. Homework Questions Answer six of the following questions. I expect at least one full paragraph for each answer. 1. Citing specific passages that support your claim, describe the mood of the work. 2. Describe the narrative structure of the work (i.e. the narrative perspective, voice, focalization point(s), use of showing vs. telling, etc.). 3. Consider the passages in the work that describe the Sumida River and its vicinity. How do each of these passages relate to the story? Why do you think Kaf decided to include so much non-plot-essential description? 4. Describe the personalities/perspectives/worldviews of the four major characters of the work (Chkichi, Rangetsu, O-toyo, and O-ito). 5. Describe the two rival worldviews that are presented in the work. Which worldview is each character associated with? Which worldview do you think the author is more sympathetic toward? 6. Can this work be read as an example of a critique of civilization (bunmei hihy), or even resistance literature (teik bungaku)? Explain your answer. 7. Note the passage of time in the work. How does each episode relate to its seasonal setting? 8. Discuss the relationship (past and present) between Chkichi and O-ito.

9. Explain the significance of the theater scene. What effect does the play have on the heartbroken Chkichi? How does the play mirror what he is going through?

10. Discuss Kichis role and significance in the story. 11. How does Rangetsu handle the delicate situation regarding Chkichi? Why does he later regret the advice he gave to the boy? 12. Locate the passages that contrast a beautiful/idealized past with a degraded/ugly present. Discuss the significance of these passages in relation to the two worldviews that are presented in the work. 13. What do you think will happen to Chkichi? Do you think that hewith Rangetsus assistancewill go on to live the life he longs for? Explain your answer.