久生十蘭とフランス文学・フランス文化 : 『十字街』を中心として（後藤邦夫教授退任記念号）

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タイトル別名
  • Hisao Juran and French Culture (Special Issue Dedicated to Professor Kunio GOTO)
  • ヒサオ ジュウラン ト フランス ブンガク フランス ブンカ ジュウジガイ オ チュウシン ト シテ

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When taking a generel survey of the history of modern Japanese literature, we often find some works which discuss the differences between European and Asian culture. Educated people are especially ardent about comparative studies of French and Japanese culture. A prominent literary critic, Miyoko Nakano, stated that though Riichi Yokomitsu's Ryoshu (Loneliness on a Journey) won a favorable reputation, it was a mediocre work. However, she appraised Hisao Juran's Jujigal (Cross Street) as far more outstanding. Juran Hisao, born in 1902 in Hakodate, Hokkaido, grew up in an affluent family. Juran loved freedom so much that he abandoned schoolwork at the age of 15. When he was 20, he became a journalist and started writing plays. In 1920, he went to Tokyo to study French playwriting theory under Takashi Kashida, whose work shows the ubiquitous influence of his own teacher, Jacques Copor. In December 1929, Juran arrived in Paris, after a long journey via the Trans-Siberian Railroad, where he spent three years under the tutelage of Charles Duran. (In fact, his penname, Juran, was taken from Duran). Specific information about his activities during this period is unknown. In 1933, 33-year-old Juran returned to Japan at last. In Jujigai, his masterpiece, Juran describes metropolitan Paris in detail and links two French and Japanese political scandal: the Stavisky Incident in French and the so-called High Treason Incident in Japan. The main character, Takayoshi, and the female protagonist, Yukiko, are taunted by the some fate. In the High Treason Incident, the Japanese government accuses both characters fathers, innocent civilians, of being criminals and tries to put them to death. Twenty years later, while Takayoshi and Yukiko are studying in Paris, they become victims of the Stavisky Incident. They are both killed by the authorities, although neither of them has anything to do with the incident. Throughout this fictional work, Juran describes the hopelessness of politics in French and Japan, recognized especially by people living in the countries capitals. Juran's unique, refined writing is reminiscent of the works of Restif de la Bretonne, Eugene Shue, and Francis Carco. In Jujigai, Juran successfully draws a clear picture of Paris as an abyss.

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