Hagiwara Sakutarō 1886-1942
Japanese poet, critic, and essayist.
Hagiwara Sakutarō is considered by many critics to be the father of modern Japanese poetry. He was among the first poets to break away from the traditional, strictly metered forms of Japanese poetry-tanka and haiku. He also established a new aesthetic in Japanese poetry in which he attained a sustained poetic lyricism by using colloquial Japanese speech in free verse poems. Hagiwara was deeply influenced by European nihilistic philosophies, and his poems, which often center on existential anxiety, are pervaded by melancholy and nostalgia.
Hagiwara was born into a middle-class family in the provincial town of Maebashi, where his father was a successful physician. While in middle school, he took a keen interest in literature and began submitting traditional tanka poems to the literary magazine Bunko. He later withdrew from school due to poor health, and he made sporadic attempts to earn his high school degree into his twenties. At home, Hagiwara devoted himself to poetry and the study of Japanese and European literature. He also had an aptitude for music, and he studied the mandolin and guitar. By 1910, Hagiwara had become a regular contributor to several poetry journals. He spent several years living a somewhat Bohemian life, drifting between his hometown and Tokyo. During this time he explored his interest in Western philosophy and literature, and for a brief period he attended Christian churches. His lifestyle drew criticism from the Maebashi bourgeoisie, and his poetry includes many spiteful remarks about his native community. In 1916, he cofounded the magazine Kanjō with Murō Saisei, an author whose poems he greatly admired. The magazine featured a new style of modern Japanese poetry that was distinct from the highly intellectual poems that other magazines of the day were publishing. The following year Hagiwara published his first poetry collection, Tsuki ni hoeru. The collection, which introduced Hagiwara's extraordinary talent for using colloquial speech in a free verse style, gained wide critical acclaim and established his reputation as a significant new voice in Japanese poetry. He followed this success with several more volumes of poetry, criticism, and poetic theory. Despite his solid literary reputation, Hagiwara relied on his family for financial support throughout his life. In 1919, Hagiwara married Uedo Ineko, with whom he had two daughters. The marriage ended in divorce in 1929. His second marriage, to Ōya Mitsuko in 1938, lasted only eighteen months. Much of Hagiwara's poetry conveys the isolation and loneliness that he felt, and his later works, particularly the poems in his 1934 collection Hyōtō, are characterized by an increasingly despondent and nostalgic tone. He taught at the University of Meiji in Tokyo from 1934 until the year of his death. He died in 1942.
Hagiwara's first poetry collection, Tsuki ni hoeru, had a wide and immediate impact on the Japanese literary community. Although the collection contains some traditional tanka, many of the poems are written in a colloquial vernacular in a loose, unmetered form. Hagiwara's success at elevating common Japanese speech to a poetic form was unprecedented. In this volume, commentators noted, Hagiwara essentially created a new aesthetic in modern Japanese poetry. In the preface to the work Hagiwara wrote, "Before this collection not a single poem had been written in colloquial language of this style, and before this collection the animation in the poetry one senses today did not exist." Critics also note that the poems in this collection were among the first in modern Japanese poetry to address questions of existential anxiety. In the title piece, "Howling at the Moon," Hagiwara likened the desperate psychological state of humanity to a lonely dog plaintively wailing at the moon. Throughout the collection, in poems such as "A Hanging in Heaven" and "An Ailing Face at the Bottom of the Earth," Hagiwara created characters who are ridden with despair. Hagiwara's second collection of poems, Aoneko, achieved even greater critical acclaim than his first. The poems in this volume reveal Hagiwara's personal interest in the nihilistic philosophy of Arthur Schopenhauer and the pessimistic ideology of Buddhism. The collection centers on abstract, metaphysical themes in which characters are nostalgic for times and places that they have never experienced. Hagiwara published a second "definitive" edition of the volume in 1936, in which he included the poem "The Corpse of a Blue Cat." The piece is a sad and nostalgic love poem in which time and memory are displaced. In it, the speaker says, "We have no past, no future, / And have faded away from the things of reality." Hagiwara's last major collection of poetry, Hyōtō (1934), received mixed critical reviews. In this volume, Hagiwara abandoned his innovative use of colloquial Japanese and returned to writing in a more formal language in metered verse. The poems in the volume are set in a more realistic context, and they convey an overwhelming sense of despair and bitterness. In the autobiographical poem "Returning to My Parents' Home," for example, Hagiwara recounted the anger and rejection that he felt after his first wife left him. In addition to his poetry, Hagiwara was widely respected for his volumes on poetic theory. His most noted work, Shi no genri (1928), laid out his conception of what he contended should be the principal aims of poetry. In aphoristic statements Hagiwara asserted that poetry should strive to convey transcendental themes and be critical of reality.