To fall for," "to be fallen for"—I feel in these words something unspeakably vulgar, farcical, and at the same time extraordinarily complacent. Once these expressions put in an appearance, no matter how solemn the place, the silent cathedrals of melancholy crumble, leaving nothing but an impression of fatuousness. It is curious, but the cathedrals of melancholy are not necessarily demolished if one can replace the vulgar "What a messy business it is to be fallen for" by the more literary "What uneasiness lies in being loved.

'Most of our children’s stories end with the perpetrators of evil deeds getting what’s coming to them, but this old gentleman did nothing wrong. He tried to perform a dance that, owing to a case of nerves, turned out rather disturbingly weird, but that’s the extent of his crime. Nor was anyone in his family particularly evil. And the same can be said for the sake-loving Ojii-san and his family, and for the Oni of Mount Tsurugi as well. None of them did anything wrong. And yet, although not a single instance of wrongdoing occurs in the story, people end up unhappy. It’s difficult, therefore, to extract from this tale of the stolen wen a moral lesson for daily life. But were an indignant reader to demand to know why, in that case, I even bothered to write the damn thing, I would have no choice but to reply as follows: It’s a tragicomedy of character. At issue here is an undercurrent that winds through the very heart of human existence.

To wait. In our lives we know joy, anger, sorrow, and a hundred other emotions, but these emotions all together occupy a bare one percent of our time. The remaining ninety-nine percent is just living in waiting. I wait in momentary expectation, feeling as though my breasts are being crushed, for the sound in the corridor of the footsteps of happiness. Empty. Oh, life is too painful, the reality that confirms the universal belief that it is best not to be born.

I have always shook with fright before human beings. Unable as I was to feel the least particle of confidence in my ability to speak and act like a human being, I kept my solitary agonies locked in my breast. I kept my melancholy and my agitation hidden, careful lest any trace should be left exposed. I feigned an innocent optimism; I gradually perfected myself in the role of the farcical eccentric.

Without a flicker of hesitation I injected the morphine into my arm. My insecurity, fretfulness and timidity were swept away completely; I turned into an expansively optimistic and fluent talker. The injection made me forget how weak my body was, and I applied myself energetically to my cartoon.