In Zeami Motokiyo’s Noh play, Atsumori, he retells the story of Atsumori as seen in Heiki Monogatari. The story revolves around the young Taira no Atsumori who was killed at the age of fifteen by Kumagai of the Minamoto clan during the Genpei War at Ichinotani. Atsumori was left behind and spotted by Kumagai along the Suma shore. Kumagai felt sorry for Atsumori because he was about the same age as one of his sons and was torn between whether or not to kill him. He decides to kill Atsumori because if he did not, then someone else from his clan would. He figured it would be better for him to do it because he would pray for Atsumori after his death. Shortly after killing Atsumori, Kumagai renounces his ways and becomes a monk name Rensho and travels back to Ichinotani to pay his respects to and pray for the soul of Atsumori. This play is a continuation from Heike Monogatari because it tells the tale of Kumagai and what he encounters in his new life as a monk while stressing the importance of Buddhist values, such as nonattachment and karma, and character transformation of warrior to priest and enemy to friend.
Rensho appears in the first scene retelling why he decided to become a monk and his reason for revisiting Suma shore. He speaks of a “wandering moon” and “pounding waves” which are two Buddhist symbolisms for a traveling monk and cyclical life. Just as the waves constantly return to the shore, Rensho is returning to Suma because he is compelled to pray for Atsumori’s soul. Rensho has given up his former life and pursued life as a monk because he feels he owes it to Atsumori to pray for him and make sure he is able to reach salvation.
Upon meeting the Youth, Rensho learns that he too is heading back to Suma shore e...
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... she be able to find her way out of the “Burning Mansions gate”. The Burning Mansion is in reference to the lotus sutra that symbolizes desire. Even though the monk prays for Lady Rokujo, ultimately she needs to figure out on her own a way to get out of the burning mansion and relinquish her desire for Genji, which is what ties her down.
This play gives insight on Lady Rokujo that is not seen in The Tale of Genji and the addition of Buddhism is also highly stressed. Lady Rokujo serves as a demonstration on how karma will eventually catch up to one in the end and how one needs to constantly follow Buddhist belief because sometimes prayer is not enough. She is also a Buddhist model like the characters in Atsumori because if one follows Buddhist belief, they too can find peace.
Works Cited
Tyler, Royall. Japanese Nō Dramas. London: Penguin, 2004. Print.
...he whole novel, but she really showed it in the epilogue. This ending scene was a shocker to all of the readers. The reason for this is because an epilogue is usually put in a novel to wrap things up. In this case it left a lot of questions unanswered. Even though the epilogue was a shocker for most readers, it still shows that Roxanne made a dramatic change within herself by the end of the book. In the beginning of the book it only showed that Roxanne valued her own image. Now that the book has come to an end it now shows that she values peace and love. This ending scene compares to the Soap Opera symbol. Soap Operas symbolize art’s power of unification. Art connects people by expressing shared feelings of love and loss. Gen and Roxane are connected through marriage to express their shared feelings of their love for each other and the loss of their deceased lovers.
As he grows older, he makes a friend with Vasudeva, the river's man. Their life is near to the end of the harmonization of the universe.
The book, Memoirs of a Geisha, is about a girl, Chiyo, who was born in a fishing village in Yoroido, Japan. Chiyo was born into a lower income village; she and her sister, Satsu, were sold by their father into the geisha society to make up for the lack of medicine that her mom needed. Satsu ended up in the pleasure district in Kyoto and Chiyo was forced to go to an Okiya house to work to become a Geisha for the rest of her life. The meaning of a geisha is artisan, it is a Japanese hostess trained to entertain men with conversation, dance, and song.
On their final day in the house she completes her plan by stripping all that she could of the rest of the wallpaper from the walls. Her intention was to bring a sense of shock to her husband. This seems to be her way of punishing him for the part he played in trapping her in the room with this hideous wallpaper. I think it goes further than just the room to make a statement of how she feels trapped in her entire life with her husband. She is “freeing” the woman who is trapped...
As the women narrate the harm caused by men, they lose track of the beings that they once were and become different people in order to cause a reaction in others. These women are hurt in ways that cause them to change their way of living. The Lady in Blue becomes afraid of what others will think of her because a man impregnated her: “i cdnt have people [/] lookin at me [/] pregnant [/] I cdnt have my friends see this” (Shange, Abortion Cycle # 1 Lines 14- 16). Instead of worrying about the life of her child, she worries about how her...
These words spoken by Bunny Quoyle, riding along with her family on their way to the old homestead in Killick Claw, New Foundland seems an exclamation to a deeper desire to settle what has been an unsettled and unhappy life. The quote could also define the transition that Quolyle, Bunny’s father, experiences. Quoyle is nowhere it seems, until he finally arrives somewhere meaningful. The transformation is a lot about getting over the loss of his wife, Petal, but also much about getting over himself as a loser and getting to a place of contentedness and confidence. Quoyle’s life rides on waves – some small that are body-surfing-like, others that are huge and tumultuous that crash onshore with Tsunami-like devastation. Eventually, he manages to find a place suitable and sustaining.
The end of the film Crouching Tiger, Hidden Dragon, is a tragedy as Jen leaps off the mountain and leaves Lo trying to understand her decision (Crouching Tiger, Hidden Dragon). She is also overwhelmed by the death of Li Mu Bai, who demonstrated chivalry in the film. She has also upset her fantasy is gone and that she is no longer the person she was in the Gobi desert where she was with Lo (Crouching Tiger, Hidden Dragon). She tells him to make a wish and this connects the story of the young man leaping from the mountain to save his parents (Crouching Tiger, Hidden Dragon). Jen feels by leaping, she is granting Lo’s wish (Crouching Tiger, Hidden Dragon). This makes Jen the tragic hero as she is finally free from the imprisonment of her duties as a governor’s daughter as well as her past with the Jade Fox (Crouching Tiger, Hidden
She is cast aside when she no longer conforms. Her fights with her husband lead to clarity when she decides that the life she is living isn’t the one she desires.
Her realization that she is not alone in her oppression brings her a sense of freedom. It validates her emerging thoughts of wanting to rise up and shine a light on injustice. Her worries about not wanting to grow up because of the harsh life that awaits her is a common thought among others besides the people in her community. As she makes friends with other Indians in other communities she realizes the common bonds they share, even down to the most basic such as what they eat, which comforts her and allows her to empathize with them.
The film revolves around Chihiro, a ten-year-old girl unhappy with the fact that her family is moving into a new home. On the way, her father takes a wrong turn and leads them to what looks like an abandoned theme park. As the family walks along the street, they find a shop with an abundance of food displayed on the counter. Chihiro, following her intuition, decides to not eat unlike her parents who devours the food in front of them, eventually turning into pigs. Stumbling upon a bathhouse, there she meets a young boy named Haku who tells her to cross the river before sunset, however, it was too late and Chihiro was already trapped in the spirit world. Finding work at the bathhouse run by Yubaba, she renames her Sen, gaining control over Chihiro. Haku warns her that if she forgot her name, she will not be able to escape the spirit world. During her stay, she encounters
This represents the vast array of individuals from the society during this time that took pleasure in telling stories about others. These individuals found amusement in writing, reading, and telling stories that were centered around the lives of other human beings. It didn’t matter if the stories were true or not. What mattered to these individuals was being entertained. This touches on the thematic concern of control because the stories eventually became so powerful that they started to strip people of their humanity. Louise, among others, became nothing more than a single narrative. The lack of concern displayed by the dancers represents the danger of a single story because the dancers are reacting to the world around them in the same manner exemplified by those who tell stories. Both groups are too caught up in their own lives to stop and take a look at what’s right in front of them. Those who tell stories are unable to see Louise as anything other than Perma Red because they are blinded by the ignorance of
“In Tantric Buddhism, we are dealing with a misogynist, destructive, masculine philosophy and religion which is hostile to life – i.e. the precise opposite of that for which it is trustingly and magnanimously welcomed in the figure of the Dalai Lama.”[1] Within Tibetan Buddhism, there is an inherent contradiction regarding the status of women. Although in many aspects women are seen and treated as inferior to men, several of the ancient and fundamental values of Tibetan Buddhism, and more specifically Tantric Buddhism, emphasize equality of the sexes, universal compassion, and most importantly the significant and essential role of the woman. Tibetan Buddhist nuns have been trying to correct this contradiction for years to remove the inferior and degrading stereotype that defines them and to be seen as equal to men. Beginning with the emergence of Tibetan Buddhism from India until today, the status of women, both physically and symbolically has declined due to the patriarchal system adopted by Tibet. “The mystery of Tantric Buddhism consists in the sacrifice of the feminine principle and the manipulation of erotic love in order to attain universal androcentric power.”[2] In their patriarchal society, the symbol of the woman is used by men now as an instrument; manipulated by men in order to acquire control and power.
...r left the house in the first place, that someone must have disappointed her on the way to church. The grandmother also points out that Mina went to the bathroom twice that morning, and that she notices that once she turns off the light at night, Mina turns on her flashlight, to write letters. Mina is once again feeling her space is invaded, and she swears at her grandmother, but because Mina never swears her grandmother knows it is coming from a place of guilt. The last sentence, which is a quote from the grandmother in which she says, “ I'm crazy...you haven't thought of sending me to the madhouse so long as I don't start throwing stones.” The ciche of not throwing stones in glass houses comes to mind, meaning that Mina’s grandmother is staying in her “place” as long as she is not revealing the injustice and sacrilege that is going on in the house, or in the world.
On the very first page of The Dream of Red Chamber the author tells us of a stone which was cast away by the goddess Nuwa for being unworthy of repairing the sky. This stone is the ethereal representation of Baoyu, and is abandoned in a place called Greensickness Peak, located in the Incredible Crags of the Great Fable Mountains. Many people have studied the symbolic meaning of this peak and I read one in the first week of the semester that I feel is likely. In Chinese “Greensickness Peak” is called “qinggeng feng”, which is similar in sound to “qinggen”, “the root of love.” Thus when the stone is thrown to qinggen feng he symbolically thrown into the root of all human emotions. This is the Stone’s great flaw: his excessive attachment to love or beauty. There is no denying this fact; it is shown in many examples: the Stone’s dabbling with the Crimson Pearl Flower in his pre-incarnation life; his joy in sleeping in Qinshi’s bedroom, no matter how inappropriate it probably was; his intercourse with Ke-qing in his dream and then Aroma in the real world- all of these reveal that Baoyu is flawed with excessive carnal desires.
In 1716, a nobleman, after returning from a successful campaign, asked a well-known poet of the period named Nawāz Kaveṡvara to translate Śakuntalā into “Braj-ki-boli.” This was the language of the common people, allowing everyone to read this classic play for themselves. Originally only the wealthy, such as the members of the Mughal Court, were able to enjoy such old writings like Śakuntalā (Thapar 90). It was now that the play could truly grow in popularity as it could not be picked up and read by most people. The character, Śakuntalā, daughter of Vishvamitra and Menka, would be engraved into the minds of the people. This would allow a variety of individuals with different points of view to analyze the Śakuntalā. Some would side with her independent nature, while others would see her simply as a woman that was standing...