Hell Screen
| Author | Ryūnosuke Akutagawa |
|---|---|
| Original title | 地獄変 (Jigokuhen) |
| Translator |
Jay Rubin, Seiji M. Lippitt, W.H.H. Norman, and others |
| Country |
 Japan
|
| Language | Japanese |
| Genre | Short story |
| Publisher | Iwanami Shoten Publishing |
|
Publication date
|
1918 |
|
Published in English
|
1948 (originally) |
Hell Screen (地獄変 Jigokuhen?) is a short story written by Japanese writer Ryūnosuke Akutagawa. It was originally published in 1918 as a serialization in two newspapers. It was later published in a collection of Akutagawa short stories, Akutagawa Ryūnosuke zenshū.
Hell Screen was first translated into English by W.H.H. Norman in 1948, in his collection of Akutagawa short stories Hell Screen and Other Stories. Numerous variant translations have followed, including the most recent one translated by Jay Rubin and published by Penguin Group.
Hell Screen is narrated by an uninvolved servant who witnesses or hears of the events. The plot of Hell Screen centers on the artist Yoshihide. Yoshihide is considered “the greatest painter in the land”, and is often commissioned to create works for the Lord of Horikawa, who also employs Yoshihide’s daughter in his mansion. When Yoshihide is instructed to create a screen depicting the Buddhist hell, he proceeds to inflict tortures upon his apprentices, so he can see what he is trying to paint. Supernatural forces seem to be present; one time, Yoshihide speaks in a devilish voice. The story climaxes when Yoshihide asks the lord to burn a beautiful lady in a carriage so he can finish the screen. The lord concedes, but, in a macabre twist, Yoshihide must watch as his daughter Yuzuki and her monkey are the ones who burn. The story ends with the magnificently horrible screen completed, and Yoshihide’s suicide by hanging.
The work follows one of Akutagawa’s major styles: the updating of ancient tales to reflect modern psychology. One major psychological theme is artistic obsession, as Makoto Ueda puts it: “For Akutagawa the dilemma was insoluble: if the artist chooses to place his art ahead of his life, in the end he must suffer the destruction of his life”. The story is also an examination of Akutagawa's own devotion to his work. Another theme is the objectivity of truth, as the narrator, a servant of the Lord of Horikawa, repeatedly ignores the physical attraction the Lord has for Yuzuki, despite overwhelming evidence. The servant even refuses to believe his own eyes when he witnesses the Lord forcing himself on Yuzuki. At the stories end, the servant proclaims:
...
Wikipedia