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The Nose
You can read the masterpieces by manga are worth reading .
Try them so you would be impressed by them !!
We faithfully replicated Akutagawa's works by manga.
About 20 centimeters length has the nose of a certain famous priest and I go down from the top of the upper lip to the bottom of the chin. The form seems to be slim sausage, I withdraw from the middle of the face. He still looks very going at the surface and finishes it. I suffered from disease of this nose in pain all the time in the heart. He felt uneasy about that a word to call a nose came out in an everyday statement above all.
Try them so you would be impressed by them !!
We faithfully replicated Akutagawa's works by manga.
About 20 centimeters length has the nose of a certain famous priest and I go down from the top of the upper lip to the bottom of the chin. The form seems to be slim sausage, I withdraw from the middle of the face. He still looks very going at the surface and finishes it. I suffered from disease of this nose in pain all the time in the heart. He felt uneasy about that a word to call a nose came out in an everyday statement above all.
Kindle Edition
First published January 1, 1916
About the author
Ryūnosuke Akutagawa
1,186 books1,750 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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August 18, 2020
鼻 = Hana = The Nose, Ryūnosuke Akutagawa
The Nose is a satirical short story by Akutagawa Ryūnosuke based on a thirteenth-century Japanese tale from the Uji Shūi Monogatari. The Nose was Akutagawa's second short story, written not long after Rashōmon. It was first published in January 1916 in the Tokyo.
The story is mainly a commentary on vanity and religion, in a style and theme typical to Akutagawa's work. Zenchi Naigu, a Heian period (the last division of classical Japanese history, running from 794 to 1185.) Buddhist priest, is more concerned with diminishing his overly long, dangling nose than he is with studying and teaching the sūtras (in Indian literary traditions refers to an aphorism or a collection of aphorisms in the form of a manual or, more broadly, a condensed manual or text.).
He pretends to ignore his nose in fear it will be mentioned, and studies religious texts in a desperate attempt to find a person with a nose like his. When in private, he constantly checks his nose in a mirror, hoping for even the smallest amount of shrinkage.
One autumn, a disciple reveals he has learned a new technique to shrink noses from a friend, a Chinese doctor who has become a high-ranking priest at the Chōrakuji temple in Kyoto. At first, Naigu feigns disinterest, to appeal to the misconception that he is unconcerned with his nose, but eventually “gives in” to his disciple's insisting.
The disciple first boils the nose, then stomps on it, finally removing the beads of fat the treatment extracts from the nose. To Naigu's satisfaction, the nose, once dangling past his chin, is now the size of a typical hooked nose.
Naigu, excited but nervous, sets about his weekly routines. He is surprised, however, to find the people he encounters laughing at him far more openly than they had before. Naigu becomes bitter and harsh, to the point where one disciple proclaims: “Naigu will be punished for treating us so harshly instead of teaching us Buddha’s Law”.
People continue to laugh at Naigu for his vanity, until one day, Naigu wakes up, and to his relief and rejoicing, his nose has returned to its original length.
تاریخ نخستین خوانش: سال 1973میلادی
عنوان: دماغ؛ نویسنده: ایونوسوکه آکوتاگاوا؛ مترجم احمد شاملو؛ تهران کتاب نمونه، 1351؛ در 85ص؛ مصور؛ چاپ دوم تهران، مروارید، 1355؛ چاپ سوم 1380؛ شابک 9646026893؛ چاپ چهارم 1382؛ چاپ پنجم 1388؛ شابک 9789646026896؛ موضوع داستانهای نویسندگان ژاپنی؛ سده 20م
این داستان با ترجمه ی جناب «جلال بایرام»، تهران، نیلوفر، 1374هجری خورشیدی، در کتابی با عنوان: «پرده جهنم» نیز منتشر شده است؛
چکیده: در دهکده «ایکه نوئو» و اطراف آن، کسی نبود که دماغ «زنچی» را ندیده باشد: این زائده ی درازی که پنج انگشت طول داشت، و سر و تهش به یک میزان کلفت بود، و از بالای لب بالایی به زیر چانه میرسید، آدم را در نظر نخست به این اندیشه وامیداشت، که یک «سوسیس» در صورت «راهب» سبز شده است.؛ «زنچی» در ظاهر، وجود این خرطومچه را به چیزی نمیگرفت، و چنان وا مینمودند که به بود و نبودش اعتنایی ندارند
تاریخ بهنگام رسانی 27/05/1399هجری خورشیدی؛ ا. شربیانی
The Nose is a satirical short story by Akutagawa Ryūnosuke based on a thirteenth-century Japanese tale from the Uji Shūi Monogatari. The Nose was Akutagawa's second short story, written not long after Rashōmon. It was first published in January 1916 in the Tokyo.
The story is mainly a commentary on vanity and religion, in a style and theme typical to Akutagawa's work. Zenchi Naigu, a Heian period (the last division of classical Japanese history, running from 794 to 1185.) Buddhist priest, is more concerned with diminishing his overly long, dangling nose than he is with studying and teaching the sūtras (in Indian literary traditions refers to an aphorism or a collection of aphorisms in the form of a manual or, more broadly, a condensed manual or text.).
He pretends to ignore his nose in fear it will be mentioned, and studies religious texts in a desperate attempt to find a person with a nose like his. When in private, he constantly checks his nose in a mirror, hoping for even the smallest amount of shrinkage.
One autumn, a disciple reveals he has learned a new technique to shrink noses from a friend, a Chinese doctor who has become a high-ranking priest at the Chōrakuji temple in Kyoto. At first, Naigu feigns disinterest, to appeal to the misconception that he is unconcerned with his nose, but eventually “gives in” to his disciple's insisting.
The disciple first boils the nose, then stomps on it, finally removing the beads of fat the treatment extracts from the nose. To Naigu's satisfaction, the nose, once dangling past his chin, is now the size of a typical hooked nose.
Naigu, excited but nervous, sets about his weekly routines. He is surprised, however, to find the people he encounters laughing at him far more openly than they had before. Naigu becomes bitter and harsh, to the point where one disciple proclaims: “Naigu will be punished for treating us so harshly instead of teaching us Buddha’s Law”.
People continue to laugh at Naigu for his vanity, until one day, Naigu wakes up, and to his relief and rejoicing, his nose has returned to its original length.
تاریخ نخستین خوانش: سال 1973میلادی
عنوان: دماغ؛ نویسنده: ایونوسوکه آکوتاگاوا؛ مترجم احمد شاملو؛ تهران کتاب نمونه، 1351؛ در 85ص؛ مصور؛ چاپ دوم تهران، مروارید، 1355؛ چاپ سوم 1380؛ شابک 9646026893؛ چاپ چهارم 1382؛ چاپ پنجم 1388؛ شابک 9789646026896؛ موضوع داستانهای نویسندگان ژاپنی؛ سده 20م
این داستان با ترجمه ی جناب «جلال بایرام»، تهران، نیلوفر، 1374هجری خورشیدی، در کتابی با عنوان: «پرده جهنم» نیز منتشر شده است؛
چکیده: در دهکده «ایکه نوئو» و اطراف آن، کسی نبود که دماغ «زنچی» را ندیده باشد: این زائده ی درازی که پنج انگشت طول داشت، و سر و تهش به یک میزان کلفت بود، و از بالای لب بالایی به زیر چانه میرسید، آدم را در نظر نخست به این اندیشه وامیداشت، که یک «سوسیس» در صورت «راهب» سبز شده است.؛ «زنچی» در ظاهر، وجود این خرطومچه را به چیزی نمیگرفت، و چنان وا مینمودند که به بود و نبودش اعتنایی ندارند
تاریخ بهنگام رسانی 27/05/1399هجری خورشیدی؛ ا. شربیانی
April 15, 2017
Kind of a like a mirror-opposite to Gogol's story - a man has too big a nose (about six inches hanging in front of his mouth) and is trying hard to get rid of it. Only to find people disliking him even more once he did that.
"The human heart harbors two conflicting sentiments. Everyone, of course, sympathizes with people who suffer misfortunes. Yet when those people manage to overcome their misfortunes, we feel a certain disappointment. We may even feel (to overstate the case somewhat) a desire to plunge them back into those misfortunes. And before we know it, we come (if only passively) to harbor some degree of hostility toward them."
"The human heart harbors two conflicting sentiments. Everyone, of course, sympathizes with people who suffer misfortunes. Yet when those people manage to overcome their misfortunes, we feel a certain disappointment. We may even feel (to overstate the case somewhat) a desire to plunge them back into those misfortunes. And before we know it, we come (if only passively) to harbor some degree of hostility toward them."
September 20, 2017
Thank you bungo stray dogs.
This story was a nice one. So simple yet so common (these days)
This story was a nice one. So simple yet so common (these days)
February 7, 2023
This was my favourite short story from the Rashomon and Other Stories collection, but Gogol's The Nose predates it by 80 strong years.
That being said, Akutagawa's inspiration comes from A Collection of Tales from Uji: A Study and Translation of Uji Shūi Monogatari, a collection of Japanese setsuwa tales from the 13th century.
Extra points to Akutagawa for writing it as a resource text in learning Japanese.
That being said, Akutagawa's inspiration comes from A Collection of Tales from Uji: A Study and Translation of Uji Shūi Monogatari, a collection of Japanese setsuwa tales from the 13th century.
Extra points to Akutagawa for writing it as a resource text in learning Japanese.
March 30, 2016
در کل جالب بود لذت بردم...
ترجمه دوست داشتنی بود...
داستان هاش به طور کلی برام یادآوری بود از سبک داستان نویسی صمد بهرنگی و داستان های یونان باستان :))
از بی شیله بودن نوشتارش خوشم اومد.
از این که پیچیده نمایی نداشت.
اطلاق فوق العاده نمی تونم بکنم. ولی مشتاق شدم آثار بیشتری از این نویسنده بخونم
ترجمه دوست داشتنی بود...
داستان هاش به طور کلی برام یادآوری بود از سبک داستان نویسی صمد بهرنگی و داستان های یونان باستان :))
از بی شیله بودن نوشتارش خوشم اومد.
از این که پیچیده نمایی نداشت.
اطلاق فوق العاده نمی تونم بکنم. ولی مشتاق شدم آثار بیشتری از این نویسنده بخونم
September 2, 2017
داستان جالبی بود! واقعا جهان بینی ژاپنیها خیلی عجیب و جذاب هست!
August 16, 2022
وقتی به ترجمهش فکر میکنم اینطوری میشم که «شاملوئه دیگه، بعید نیست ازش دخیل کردن چنین لحن حماسیای».
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March 29, 2016در قلب هر آدمیزاده ای دو احساس متضاد هست: به هنگام شوربختی، دیگران همه با ما همدردی می کنند. چنین نیست؟... اما چندان که از میدان نبرد با زندگی پیروزمند درآمدیم و توانستیم بینوایی را به زانو در آوریم و به نوایی برسیم، همان کسان که همدردان روزگار تیره بختی ما بوده اند در خود احساس تأسفی می کنند و چه بسیار که راهی می جویند تا بار دیگر ما را به بینوایی پیشین بازگردانند و چه بسیار که این همدردان قدیم بی آن که خود آگاه باشند در ژرفای روحشان احساس حقد و کینه نیز می کنند...!
February 25, 2022
Short , satirical, yet so full of symbolism . In such a comical concept , Akutagawa manages to incorporate so skillfully themes of vanity , envy , human behavior, obsession, acceptance. And he does with so many of his stories. He puts those things plain in sight yet carefully woven in his characters and stories which are all delivered with witty satire .
This short story is so impactful, and still relevant , maybe more so than ever .
The Nose, essentially, could be any feature, any status that we become obsessed and utterly controlled by and/or we all in some level or another judge others by. Vanity, education, finances. We seek to find someone to relate to so we can feel normal, equal, on the same level with, even in misery. If the feature in us is perceived as negative, we try to hide it, but we become obsessed with others perception that we lose sight of our life and we live only according to this obsession.
The problem isn't the Nose, but the judgement, mistreatment and tear at the Acolyte's dignity as a result of it. Making him seek in someone else this same feature to ease the pain at his ego, at first, failing to accept his uniqueness , being afraid and tired of others judging him purely on this one feature .
Which brings another point that Akutagawa so delicately places in such a comically set story . In the Buddhist belief of life being suffering and one ought to release themselves from obsessions , we see the Acolyte becoming so obsessed with his Nose. Which by proxy means the opinions of others . And as a result he starts to mess up his Sutras or become distracted, losing sight of what feels important to him deep within.
With the first opportunity to change others' perception of him, he does so, gaining momentary ecstasy , but soon he sees how easily people can turn their inner thoughts outside openly and laugh at his pain , how easily people can turn on him once his misfortune no longer bears down on his shoulders (or in this case face) the criticism of society claiming compassion for someone's pain but enjoying seeing others lower than you . And if you manage to overcome your "feature ", which is seen as obstacle, then society will scrutinize you still , for one reason or another.
let go of the obsession towards others perception of you, live your life truthfully to yourself , don't try to live to please others' standards.
AND ALL OF THAT WHILE HOLDING MYSELF FROM WRITING AND ANALYSING MORE.
Ryunosuke is amazing .
This short story is so impactful, and still relevant , maybe more so than ever .
The Nose, essentially, could be any feature, any status that we become obsessed and utterly controlled by and/or we all in some level or another judge others by. Vanity, education, finances. We seek to find someone to relate to so we can feel normal, equal, on the same level with, even in misery. If the feature in us is perceived as negative, we try to hide it, but we become obsessed with others perception that we lose sight of our life and we live only according to this obsession.
The problem isn't the Nose, but the judgement, mistreatment and tear at the Acolyte's dignity as a result of it. Making him seek in someone else this same feature to ease the pain at his ego, at first, failing to accept his uniqueness , being afraid and tired of others judging him purely on this one feature .
Which brings another point that Akutagawa so delicately places in such a comically set story . In the Buddhist belief of life being suffering and one ought to release themselves from obsessions , we see the Acolyte becoming so obsessed with his Nose. Which by proxy means the opinions of others . And as a result he starts to mess up his Sutras or become distracted, losing sight of what feels important to him deep within.
With the first opportunity to change others' perception of him, he does so, gaining momentary ecstasy , but soon he sees how easily people can turn their inner thoughts outside openly and laugh at his pain , how easily people can turn on him once his misfortune no longer bears down on his shoulders (or in this case face) the criticism of society claiming compassion for someone's pain but enjoying seeing others lower than you . And if you manage to overcome your "feature ", which is seen as obstacle, then society will scrutinize you still , for one reason or another.
let go of the obsession towards others perception of you, live your life truthfully to yourself , don't try to live to please others' standards.
AND ALL OF THAT WHILE HOLDING MYSELF FROM WRITING AND ANALYSING MORE.
Ryunosuke is amazing .
April 18, 2015
رویهمرفته کتاب بدی نبود، هر داستان نکته های خاص خودشو داشت و در کل ارزش خوندن رو داشت
September 28, 2018
کتاب شامل چهار داستان کوتاه است که فضای داستان های کهن را دارد. به خصوص دو داستان آخر که داستانهای هزار و یک شب را به یاد میآورد. شاملو سعی کرده در ترجمه نیز این سبک حفظ شود. در کل از خواندنش لذت بردم.
December 20, 2015
اما آخر خنده داریم تا خنده. این خندهها به آن خندههای قدیم و آن خندهها که به درازی بی رحمانهی دماغاش میکردند هیچ گونه شباهتی ندارد. آیا به راستی قابل قبول است که دماغی معمولی و متوسط بیش از خرطومچهای دراز و نامناسب این جماعت بیفهم و شعور را به خنده بیندازد٬ تنها بدان دلیل که به دیدن آن یک عادت داشتهاند و این یک چیزی است به خلاف عادت هایشان؟
March 29, 2009
یه ستاره به خاطر ِ اون یکی دو تا تصویرسازی ِعمو مرتضی که توش هست و ترجمهی عمو احمد ِ عزیز بهش ارفاق میکنم وگرنه همون یه دونه بسّش بود
May 29, 2011
شامل 4 داستان کوتاه که بیشتر افسانه هستند. در حد ادبیات نوجوان شاید. به جز داستان اول "دماغ" باقی تعریفی نداشتند.
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January 7, 2012وقتی ده یازده ساله بودم خوندم ، هیچی نفهمیدم ، دوسال پیش هم خوندم هیچی نفهمیدم یعنی سطحی به نظر میاد ، چون درک نکردم امتیاز هم نمیدم ، شاید چیزی گفته که برام هنوز زوده شاید اصلا نگفته ، نمیدونم
July 29, 2021
This a weird one.
As always, there is a lesson to be learn. How appearance can affect people to the extent of their consciousness of certain body part could lead to their own demise. A priest named Naigu was born with six inches nose that passed his chin, its a feature that caused him difficulty in eating and daily tasks. His long nose was known throughout the town. There is a theme of appearance and religion plays here as someone who works as a priest whom should memorize religious texts and study them, he was more conscious of his nose more than others as he kept on thinking on how to shorten it and also trying to find people with the same nose as his. You could say he was obsessed at this point.
As always, there is a lesson to be learn. How appearance can affect people to the extent of their consciousness of certain body part could lead to their own demise. A priest named Naigu was born with six inches nose that passed his chin, its a feature that caused him difficulty in eating and daily tasks. His long nose was known throughout the town. There is a theme of appearance and religion plays here as someone who works as a priest whom should memorize religious texts and study them, he was more conscious of his nose more than others as he kept on thinking on how to shorten it and also trying to find people with the same nose as his. You could say he was obsessed at this point.
January 17, 2023
یادگاری ها:
- در قلب هر آدمیزاده ای دو احساس متضاد هست: به هنگام شوربختی، دیگران همه با ما همدردی می کنند. چنین نیست؟… اما چندان که از میدان نبرد با زندگی پیروزمند درآمدیم و توانستیم بینوایی را به زانو در آوریم و به نوایی برسیم، همان کسان که هم دردان روزگار تیره بختی ما بوده اند در خود احساس تأسفی می کنند و چه بسیار که راهی می جویند تا بار دیگر ما را به بینوایی پیشین بازگردانند و چه بسیار که این همدردان قدیم بی آن که خود آگاه باشند در ژرفای روح شان احساس حقد و کینه نیز می کنند. ص ۲۲
- به خودستایی، نیروی خویشتن را همه در کارِ رفتن می کند و به بازگشتن نمی اندیشد... آری، جوانان و خامان چنین اند. ص ۶۳
این دنیا نیز دنیای قصه های زودگذر است؛ اما بسی وسیع تر از آن. آن جا چه چیز در انتظار ماست؟
- نمی دانیم!
آنچه می دانیم، این است که ما به سوی این جهان گام بر می داریم و در این حال، به گروهی سرباز شجاع و رزمنده ماننده ایم! ص ۱۰۴
- در قلب هر آدمیزاده ای دو احساس متضاد هست: به هنگام شوربختی، دیگران همه با ما همدردی می کنند. چنین نیست؟… اما چندان که از میدان نبرد با زندگی پیروزمند درآمدیم و توانستیم بینوایی را به زانو در آوریم و به نوایی برسیم، همان کسان که هم دردان روزگار تیره بختی ما بوده اند در خود احساس تأسفی می کنند و چه بسیار که راهی می جویند تا بار دیگر ما را به بینوایی پیشین بازگردانند و چه بسیار که این همدردان قدیم بی آن که خود آگاه باشند در ژرفای روح شان احساس حقد و کینه نیز می کنند. ص ۲۲
- به خودستایی، نیروی خویشتن را همه در کارِ رفتن می کند و به بازگشتن نمی اندیشد... آری، جوانان و خامان چنین اند. ص ۶۳
این دنیا نیز دنیای قصه های زودگذر است؛ اما بسی وسیع تر از آن. آن جا چه چیز در انتظار ماست؟
- نمی دانیم!
آنچه می دانیم، این است که ما به سوی این جهان گام بر می داریم و در این حال، به گروهی سرباز شجاع و رزمنده ماننده ایم! ص ۱۰۴
November 6, 2023
for japanese lit 🫡
so simple but so so good
so simple but so so good
December 16, 2013
Publisher Ladder
time 60min
Discussion question
Do you have any complexes about your body parts? What?
I do not have any complexes, I have never think about that.
Would you like to try to make cosmetic surgery if you can make your complexes better.
I would not. I do not want to spend my money for such things.
This story is kind of intresting for me and tittle is also impressive.
I learnt from this book that it is better to stay natural.
time 60min
Discussion question
Do you have any complexes about your body parts? What?
I do not have any complexes, I have never think about that.
Would you like to try to make cosmetic surgery if you can make your complexes better.
I would not. I do not want to spend my money for such things.
This story is kind of intresting for me and tittle is also impressive.
I learnt from this book that it is better to stay natural.
May 13, 2016
"The human heart harbours two conflicting sentiments. Everyone of course sympathises with people who suffer misfortunes. Yet when those people manage to overcome their misfortunes, we feel a certain disappointment. We may even feel (to overstate the case somewhat) a desire to plunge them back into those misfortunes. And before we know it, we come (if only passively) to harbour some degree of hostility toward them."
September 26, 2014
No tengo buena memoria de este cuento. Recuerdo el extrañamiento.
January 13, 2015
I really like the story :)
May 14, 2016
ترجمه احمد شاملو، بخصوص در داستان دوم، به شدت من رو مجذوب داستان کرد
September 21, 2016
من یکی دو تا قصه شو خوندم اصن درکش نکردم یه فاز خاصیه که میتونم بگم نسبتا بیگانه م باش
February 21, 2017
Ryunosuke Akutagawa'nın 1916-ci ilin yanvarında nəşr olunan ikinci qısa hekayəsi "Burun".
November 6, 2017
فضای خاص و عجیبی داشت.من ارتباط برقرار نکردم
October 18, 2019
ჩემი მოთხრობა
March 16, 2022
The story has a good message of acceptance of one-self. I think this message is really important to people nowadays because a lot of people, especially teenagers, cannot accept who they are and what the look like, so they try very hard to change their appearance to someone who they aren’t. After they have changed their appearance so much, they will come to realize that their original appearance is so much better, and being who they originally are is so much more comfortable. We should all accept who we are and this book brings a good message to everyone.
May 17, 2020
من فقط تونستم دو تا از داستانها رو بخونم. در کل کتابش هیچ جذابیتی برام نداشت و حتی به نظرم خیلی مسخره و کلیشه بود. ترجمهی شاملو رو هم اصلا دوست نداشتم. خوندنش رو پیشنهاد نمیکنم.
نکتهی بیربطی که بهش برخوردم این بود که کسایی که کتاب رو به زبان اصلی یا به زبان انگلیسی خونده بودن، غالبا ریتینگ بالاتری به کتاب داده بودن.
نکتهی بیربطی که بهش برخوردم این بود که کسایی که کتاب رو به زبان اصلی یا به زبان انگلیسی خونده بودن، غالبا ریتینگ بالاتری به کتاب داده بودن.
July 17, 2021
本文から
内供は、震旦の話の序に蜀漢の劉玄徳の耳が長かったと云う事を聞いた時に、それが鼻だったら、どのくらい自分は心細くなくなるだろうと思った。
内供は、震旦の話の序に蜀漢の劉玄徳の耳が長かったと云う事を聞いた時に、それが鼻だったら、どのくらい自分は心細くなくなるだろうと思った。
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