“The Carp of My Dreams”—Ueda Akinari (1734-1809)
夢応の鯉魚 (“Muō no rigyo”) is, in my view, a standout in the influential collection of supernatural short stories 雨月物語 (Ugetsu monogatari, “Tales of Moonlight and Rain”). The collection is in a late and relatively pellucid form of Classical Japanese, and comprises reworkings of older Japanese, Chinese, and Indian material. Published in the midst of Japan’s isolationist Tokugawa period, the collection has occasional nationalist and nativist overtones, but, unlike certain later material, this has a tendency to enhance rather than sap its narrative and emotional strength. This story, which, following Anthony Chambers, I have translated “The Carp of My Dreams,” is a bit different from other stories in the collection for its relatively light tone; its story of a Buddhist monk who paints fish and his reward from a lake god has tensions and ambivalent points, but nothing like what appears in other Ugetsu offerings like “A Serpent’s Lust” or “The Kibitsu Cauldron.”
“The Earth God and the Fox”—Miyazawa Kenji (1896-1933)
土神と狐 (“Tsuchigami to kitsune”) tells the story of an earth god who lives in rags, a fox who wears custom, and their rivalry, at least in their own minds, for the affections of a birch tree. Like much of Miyazawa’s fiction, it is a children’s story but has allegorical resonances relating to Miyazawa’s religious and sociocultural beliefs. In this case the usual reading is that the story sees Miyazawa working out his thoughts on indigenous culture and Western-dominated global culture, in the context of Japan’s own partial Westernization. The indigenous culture violently expunges the globalized Western-dominated culture, but it is not actually right to do so because Western culture has values and traditions and a worthwhileness of its own, even if it has a tendency to traipse about where it's not wanted. Commentators on Miyazawa often conclude that his implicit pro-Western stance was developed as a repudiation of an earlier stance that was strongly nationalist and imperialist, hence the allegorical criticism of indigenist attitudes seen in this story.