Junichiro Tanizaki Quotes

We Orientals find beauty not only in the thing itself but in the pattern of the shadows, the light and darkness which that thing provides.

Can it be, I wondered, that life without her is so dull as this?

Find beauty not only in the thing itself but in the pattern of the shadows, the light and dark which that thing provides.

If I know from the start that I'm going to be alone, I'm not lonely. It doesn't bother me.

I wouldn't mind being injured if that would bring Satsuko pleasure, and a mortal injury would be all the better. Yet to think of being trampled to death, not by her but by her dog…

...she basked gratefully in the warmth of her husband's love

With lacquerware there is an extra beauty in that moment between removing the lid and lifting the bowl to the mouth, when one gazes at the still, silent liquid in the dark depths of the bowl, its colour hardly differing from that of the bowl itself. What lies within the darkness one cannot distinguish, but the palm senses the gentle movements of the liquid, vapour rises from within, forming droplets on the rim, and the fragrance carried upon the vapour brings a delicate anticipation ... a moment of mystery, it might almost be called, a moment of trance.

But does a decent man make promises just to please a woman? Isn't it more honest to refuse to?"
"I don't like that sort of honesty. It's not honesty, it's lack of steadiness.

If I've changed, I've changed."
"Have you really changed, or are you only making a show?"
"Making a show?"
"Yes."
" ... I don't really know.

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It is hard for one who has not had a similar experience to imagine the terror that still gripped Taeko and Mrs. Tamaki and Hiroshi, so intense a terror that afterwards it seemed almost funny.

I know few greater pleasures than holding a lacquer soup bowl in my hands, feeling upon my palms the weight of the liquid and its mild warmth. The sensation is something like that of holding a plump newborn baby.

When she treads on my grave and feels as if she's trampling on that doting old man's bones, my spirit will still be alive, feeling the whole weight of her body, feeling pain, feeling the fine-grained velvety smoothness of the soles of her feet. Even after I'm dead I'll be aware of that. I can't believe I won't. In the same way, Satsuko will be aware of the presence of my spirit, joyfully enduring her weight. Perhaps she may even hear my charred bones rattling together, chuckling, moaning, creaking. And that would by no means occur only when she was actually stepping on my grave. At the very thought of those Buddha's Footprints modeled after her own feet she would hear my bones wailing under the stone. Between sobs I would scream: It hurts! It hurts! ... Even though it hurts, I'm happy - I've never been more happy, I'm much, much happier than when I was alive! ... Trample harder! Harder!

The heart of mine is only one, it cannot be known by anybody but myself.

The older we get the more we seem to think that everything was better in the past.

Perhaps I am already tired of life - I feel as if it makes no difference when I die. The other day at the Toranomon Hospital when they told me it might be cancer, my wife and Miss Sasaki seemed to turn pale, but I was quite calm. It was surprising that I could be calm even at such a moment. I almost felt relieved, to think that my long, long life was finally coming to an end.

There are those who hold that to quibble over matters of taste in the basic necessities of life is an extravagance

For a woman who lived in the dark it was enough if she had a faint, white face -a full body was unnecessary.

Each worm to his taste;
some prefer to eat nettles.

Her eyes, nose, hands, feet ... Each part was a supreme delicacy, and I was insatiable.

When he heard people with no knowledge of a cat's character saying that cats were not as loving as dogs, that they were cold and selfish, he always thought to himself how impossible it was to understand the charm and lovableness of a cat if one had not, like him, spent many years living alone with one. The reason was that all cats are to some extent shy creatures: they won't show affection or seek it from their owners in front of a third person but tend rather to be oddly standoffish. Lily too would ignore Shozo or run off when he called her, if his mother were present. But when the two of them were alone, she would climb up on his lap without being called and devote the most flattering attention to him.

[ ... ] we can't make a decision between being sad for a little while and being wretched for the rest of our lives. Or rather we've made the decision and have trouble finding the courage to carry it through.

I wanted to boast to everyone,"This woman is mine. Take a look at my treasure.

Our cooking depends upon shadows and is inseparable from darkness

We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates.

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet truly is a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Soseki counted his morning trips to the toilet a great pleasure, 'a physiological delight' he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves.

We Orientals tend to seek our satisfactions in whatever surroundings we happen to find ourselves, to content ourselves with things as they are; and so darkness causes us no discontent, we resign ourselves to it as inevitable. If light is scarce, then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty. But the progressive Westerner is determined always to better his lot. From candle to oil lamp, oil lamp to gaslight, gaslight to electric light - his quest for a brighter light never ceases, he spares no pains to eradicate even the minutest shadow.

When I lived on the Bluff in Yokohama I spend a good deal of my leisure in the company of foreign residents, at their banquets and balls. At close range I was not particularly struck by their whiteness, but from a distance I could distinguish them quite clearly from the Japanese. Among the Japanese were ladies who were dressed in gowns no less splendid than the foreigners', and whose skin was whiter than theirs. Yet from across the room these ladies, even one alone, would stand out unmistakably from amongst a group of foreigners. For the Japanese complexion, no matter how white, is tinged by a slight cloudiness. These women were in no way reticent about powdering themselves. Every bit of exposed flesh - even their backs and arms - they covered with a thick coat of white. Still they could not efface the darkness that lay below their skin. It was as plainly visible as dirt at the bottom of a pool of pure water. Between the fingers, around the nostrils, on the nape of the neck, along the spine - about these places especially, dark, almost dirty, shadows gathered. But the skin of the Westerners, even those of a darker complexion, had a limpid glow. Nowhere were they tainted by this gray shadow. From the tops of their heads to the tips of their fingers the whiteness was pure and unadulterated. Thus it is that when one of us goes among a group of Westerners it is like a grimy stain on a sheet of white paper. The sight offends even our own eyes and leaves none too pleasant a feeling

After looking at myself in the mirror, I looked at Satsuko. I could not believe that we were creatures of the same species. The uglier the face in the mirror, the more extraordinarily beautiful Satsuko seemed. If that ugly face were only uglier, I thought regretfully, Satsuko would look even more beautiful.

For someone who writes as slowly as I do, each installment is a full day's work. Newspaper novels are painful ... Whether I like what I'm writing or not, whether I'm feeling inspired or not, I have to write an installment every day.

It's odd, but even when I am in pain I have a sexual urge. Perhaps especially when I am in pain I have a sexual urge. Or should I say that I am more attracted, more fascinated by women who cause me pain?

Were it not for shadows, there would be no beauty.

But once you start doubting,it's hard to know what to believe.

Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into its forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway.

The ancients waited for cherry blossoms, grieved when they were gone, and lamented their passing in countless poems. How very ordinary the poems had seemed to Sachiko when she read them as a girl, but now she knew, as well as one could know, that grieving over fallen cherry blossoms was more than a fad or convention.

We delight in the mere sight of the delicate glow of fading rays clinging to the surface of a dusky wall, there to live out what little life remains to them.

In the mansion called literature I would have the eaves deep and the walls dark, I would push back into the shadows the things that come forward too clearly, I would strip away the useless decoration. I do not ask that this be done everywhere, but perhaps we may be allowed at least one mansion where we can turn off the electric lights and see what it is like without them.