novelist who was a central figure in the development of the Japanese naturalist school of writing.

Tayama's early work was highly romantic, but with the essay “Rokotsu naru byōsha” (1904; “Straightforward Description”) he pointed the way toward the more realistic path he was to follow under French influence. The injunction to observe strict objectivity and to describe things as they are, deriving from the early French naturalists Guy de Maupassant and the brothers Edmond and Jules Goncourt, developed into a (I novel) major genre in Japanese literature—the watakushi-shōsetsu, or “autobiographical novel.” Futon (1907; “The Quilt”) made his reputation; it described in embarrassing detail the attraction of a middle-aged writer (the author) to a young female student. A trilogy of autobiographical novels, Sei (1908; “Life”), Tsuma (1908–09; “Wives”), and En (1910; “The Bond”), fixed the distinguishing form of Japanese naturalism. Inaka kyōshi (1909; “A Country Schoolmaster”) showed the influence of the Goncourts and of Gustave Flaubert's Madame Bovary. Tayama's essay on his own literary theories, “Katai bunwa” (1911; “Katai's Literary Discourses”), introduced into the critical language the term heimen byōsha (“plain description”), with which he is identified. In later years, with the decline in the influence of naturalism, he entered a period of personal confusion from which he emerged with a calm, almost religious attitude, which was reflected in Zansetsu (1918; “Lingering Snow”).