Goethe-Reception in postwar Japan

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The most important work in the Goethe-Reception in postwar-Japan is apparently "Faust"The contract with the devil is at the core of "Faust''. Therefore the Japanese Authors, who want to write their own "Faust", must put this theme in the spiritual circumstances of Japan. But it is not easy because the most Japanese believe neither the contract with the devil nor his existenceShuSaku ENDO tried to reveal this problem of devil in his novel "Devil in Broad Dayligh" (1980), but in vainOn the other hand Yukio MISHIMA considered not the devil, but the phantom like a phantom killer and inquired into the Japanese reality He combined this consideration with Goethe's "Faust''. "forbidden Colors" (1951〜53) and "Sotoba Komachi" (1952) are his "Mon Faust". The antagonism between beauty and ugliness is essential in these works, and Mephistopheles plays the role of the uglinessIn the novel "The Resistance of the Forty-eight" Tatsuzo ISHIKAwA tried to reveal the miserable lives of the salaried workers as a kind of parody. The hero of this navel bo undo his life like Faust But his wish can not become true. ISHIKAWA showed us, that it is impossible to live heroic like Faustin the modern JapanOsamu TEZUKA turned Goethe's "Faust" into a cartoon three timers. The essential theme of his whole works is the environmental pollution because of the scientific technohogy. This theme appears in his posthumous work "Neo-Faust" (1988) quite may. TEZUKA substituted Clone-person for Homtmculus in Goethe's "Faust". By producing the mass of Clone-persons Faust formed the strong armed forces which wed the whole earth finally Through his "Neo-Faust" TEZUKA showed us, how strong the cartoon can criticixe our time