Chuya Nakahara

Chuya Nakahara Poems

Chuya Nakahara Biography

Chūya Nakahara (29 April 1907 - 22 October 1937) was a poet active in early Shōwa period Japan. Initially, Chūya favored poetry in the Japanese traditional tanka format, but he was later (in his teens) attracted to the modern free verse styles advocated by Dadaist poet Takahashi Shinkichi and by Tominaga Tarō. After he moved to Tokyo, he met Kawakami Tetsutaro and Ooka Shohei, with whom he began publishing a poetry journal, Hakuchigun (Idiots). He was befriended by the influential literary critic Kobayashi Hideo, who introduced him to the French symbolist poets Arthur Rimbaud and Paul Verlaine, whose poems he translated into Japanese. The influence of Rimbaud went beyond just his poetry, and Nakahara came to be known for his "bohemian" lifestyle. Chūya adapted the traditional counts of five and seven used in Japanese haiku and tanka, but frequently tripped these counts with variations, in order to obtain a rhythmical, musical effect. Several of his poems were used as lyrics in songs, so this musical effect may have been carefully calculated from the start. Chūya's works were rejected by many publishers, and he found acceptance primarily with the smaller literary magazines, including Yamamayu, which he launched together with Kobayashi Hideo, (although on occasion Shiki and Bungakukai would condescend to publish one of his works). He remained close friends with Kobayashi all of his life, despite the fact that his girlfriend left him for Kobayashi shortly after their first meeting. He eventually married and had a daughter who died in infancy, which sent him into a nervous breakdown from which he never fully recovered. Many of his later poems seem like remembrances and attempts to mitigate this enormous pain. Chūya died at the age of 30 of cerebral meningitis. Only one of his poetry anthologies, Yagi no Uta ("Goat Songs", 1934) appeared while he was alive (in a self-financed edition of two hundred copies). He had edited a second collection, Arishi Hi no Uta ("Songs of Bygone Days") just before his death. During his lifetime, Chūya was not counted among the mainstream of poets, but his verses have a wide and increasing following even to this day. Chūya is now a subject of classroom study in Japanese schools, and his portrait in a hat with a vacant stare is well known. Kobayashi Hideo, to whom Chūya entrusted the manuscript for Arishi Hi no Uta on his deathbed was responsible for the posthumous promotion of his works, and Ooka Shohei for collecting and editing The Complete Works of Nakahara Chūya, a collection containing the poet's uncollected poems, his journals, and many letters.)

The Best Poem Of Chuya Nakahara

Dedicated To A Dragonfly

Against a flawless autumn sky
A crimson dragonfly is taking flight
As I am standing in a meadow
Nothing in the waning evening light

And far away a factory chimney in
This evening light is blurry through its film
A high heavy sigh emerges then
And squatting down o grab a stone

As even coolness presses my palm
But as the stone begins to warm
Bathing in the waning light.

Imperceptibly the blades of grass
Begin to whither where they fell
While far away the factory chimney still
In evening light is blurry through its film

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