Although Kamo no Chomei and Saigyo are both poets with reclusive backgrounds, their distinct past has strong influence on to their interpretation of nature. Saigyo, originally name Norikiyo, came from a highly reputable military background who served the capital. Whereas, Kamo no Cho mei began his career as a poet in the imperial court. Transitioning from these high class social positions to a reclusive lifestyle, Saigyo and Kamo no Cho mei’s works display a controversial understanding of the nature of life. Throughout the translations of these two poet’s work by Lafleur and Cook, Saigyo and Kamo no Chomei draws upon a compelling understanding of nature through the themes of impermanence, desires, and suffering. The following essay …show more content…
Reflecting in solitude, Saigyo see this natural element of life associated with karmic repercussions. One example of desires reflected in Saigyo’s life is that even as a child to have a desire to become a warrior. In one of his waka, he described himself as a “mere child holding on a toy bamboo bow … longs to wear a warrior’s headgear” (Laleur 4). Holding a toy bow at such young age is representations of the deep desire to be a warrior and the fetish of the sword. As described in Saigyo poem, “swords … are gruesomely designed for hacking off … another’s body” (Laleur 135). This mean his desires to be a warrior would lead into a pathway of human slaughtering on the battlefield. The karmic repercussion for Saigyo’s desire to be a warrior is speculated to be an increase rejection of his identity and role. In one of poems in Awesome Nightfall, Saigyo expresses this distaste by enduring the “pain of looking at aftermath of war scenes as mental torture” ((Laleur 134). This traumatizing experience of executing violence may have had a profound impact on Saigyo decision to give up his desire to be a warrior in pursuit for buddhism. Living in solitude has given Saigyo a peaceful escape from this desire, which has allow him to avoid further karmic repercussions by becoming an anti-war …show more content…
In the account of ten-foot square hut, Cho mei interpretes desires not only as inevitable, but as “foolish endeavors” (Cook 625). According to Cho mei elaboration of his past in the capital, he saw people’s natural deep desire for reputation and wealth (Cook 625). By vividly describing the turmoil of series of natural disasters that destroy many people’s houses and valuable treasures, Cho mei suggests that the fascination with having these desires trouble the heart with distress and fear” (Cook 625). In contrast to Saigyo, Cho mei takes a further step in analyzing human’s desire for greed among the rich or poor will always be in discontentment (Cook 629). While it can seem this discontentment may be a karma for one’s greed, Cho mei also want people to realized how living in solitude allow him to become content with everything he has (Cook 629). This rejection of desires for wealth and reputation free the distress of capital life. Cho Mei’s elaborated on how even the challenges living in a hut that was 1/10 the size of his house back in capital provided a sense of relief with the quote, “I rest as I please, I dawdle as I like” (Cook
In document B written by Catharina Blomberg, it says, “Loyalty toward the feudal lord in Japan was hereditary.” If becoming a samurai was hereditary, then some samurai weren’t chosen to be a samurai because of their abilities, but because they were the son of a samurai. That means that not all samurai are the best fighters. It also says in document E, written by the DBQ project, “To dishonour knighthood was the greatest disgrace.” Part of the code is to always obey your king, so a knight would want to fight harder and not back out.
In the ancient Japanese culture, one great aspect was on how they emphasized on the intrinsic themes of loyalty and honor. They had fierce warriors known as samurai’s. A samurai was a traditional warrior who would protect and be loyal to their masters no matter what. They were known to be skilled soldiers, benevolent men, self-sacrifice, sense of shame, along with other major characteristics that embodied them as a samurai. While this class of warrior no longer exist today, the remembrance of a samurai is present in the minds of the characters in the novel, The Samurai’s Garden by Gail Tsukiyama. Tsukiyama does a fascinating piece of work by really elaborating and describing the great attributes that Matsu possess of a true samurai. In the
Ukiyo is a culture that strives to live a strictly pleasure-seeking routine. The largest flaw in this way of life, as Saikaku points out, is that its superficial nature forces people to live lives as meaningless and fluffy as its name, the “Floating World,” suggests. It is shallow in the physical sense, in that it focuses primarily on “beautiful” external appearances, and in the metaphorical sense, whereby individuals never really make deep-seated connections to anyone because of their addiction to finding these so-called pleasures. One particular character that Saikaku satirizes to embody this superficial nature of Ukiyo is the old, rotting woman found on the verandah in the episode of “A Monk’s Wife in a Worldly Temple.” He cleverly employs situational irony with this character to prove his point, as it is expected for the archetypal old woman to pass moral lessons to the younger generation. By the character’s own, sorrowful admission she claims that she “can’t forget about sex” and is going to “bite right into” (Saikaku 614) the protagonist; completely the opposite of what the audience expects her to say. This satire highlights the extent to which the Ukiyo lifestyle socially conditions individuals; the old woman is so far gone down that path that she no l...
From the beginning of Wang Lung’s marriage to O-lan, she saved him time, money, and effort without complaint. She offered wisdom when asked and was smart in the ways of the world. During the famine, when the family went south in search of food, O-lan taught her children how to beg for food, “dug the small green weeds, dandelions, and shepherds purse that thrust up feeble new leaves”(p. 128). She raised her children prudently. She knew how to bind her daughter’s feet, and she gave them a better childhood than she had had. O-lan knew that the land was the only consistent thing in her life, so she willingly helped Wang Lung as he bought more and more land. O-lan knew her place in the family was as a wife and mother. As a wife, she fe...
The family's personal encounters with the destructive nature of the traditional family have forced them to think in modern ways so they will not follow the same destructive path that they've seen so many before they get lost. In this new age struggle for happiness within the Kao family, a cultural barrier is constructed between the modern youth and the traditional adults, with Chueh-hsin teeter tottering on the edge, lost between them both. While the traditional family seems to be cracking and falling apart much like an iceberg in warm ocean waters, the bond between Chueh-min, Chueh-hui, Chin and their friends becomes as strong as the ocean itself. While traditional Confucianism plays a large role in the problems faced by the Kao family, it is the combination of both Confucianism and modernization that brings the family to its knees. Chueh-hsin is a huge factor in the novel for many reasons.
Timothy Brook’s book, The Confusions of Pleasure: Commerce and Culture in Ming China is a detailed account of the three centuries of the Ming Dynasty in China. The book allows an opportunity to view this prominent time period of Chinese history. Confusions of Pleasure not only chronicles the economic development during the Ming dynasty, but also the resulting cultural and social changes that transform the gentry and merchant class. Brook’s insights highlight the divide between the Ming dynasty’s idealized beliefs, and the realities of its economic expansion and its effects. Brook describes this gap through the use of several first hand accounts of individuals with various social statuses.
“The Way of the Samurai is found in death. When it comes to either/or, there is only the quick choice of death. It is not particularly difficult. Be determined and advance. To say that dying without reaching one’s aim is to die a dog’s death is the frivolous way of sophisticates. When pressed with the choice of life or death, it is not necessary to gain one’s aim. We all want to live. And in large p...
As Wang Lung gains his wealth, through hard work of the land, he becomes increasingly dissatisfied. Whereas before Wang Lung is happy to h...
Ever since humans have inhabited this Earth, human blood has been spilt and battles have been waged throughout history. Mankind has warred with itself, developing and honing lethal and efficient tactics, strategies and martial skills of and within war, all across the globe. But, yet few cultural societies have been so influenced by the practice of a martial arts system that said system lays foundation to cultural reformation. An evident example of a martial arts based cultural reformation can be seen in the rise and establishment of the militant class within feudal Japan. Bujutsu and Budo, feudal Japanese martial arts, provided an efficient and lethal martial arts system. These two martial arts, coupled with various religious influences, established intrinsic values that engendered a new way of life for feudal Japanese warriors.
This book gives a unique look back to the late 18th century, when Yamamoto was active as a samurai. The view is unique, because Japan was unifying and there was less need for each minor lord to have an armed class. The warrior ethic was changing as war became less common. In some way, these notes seem to mourn the passing of the clearest, purest form of that ethic.
“Power, riches, honor, even health, and the general well-being and contentment with one’s condition which is called happiness, all inspire pride and often presumption if there is not a good will to correct the influence of these on the mind, and with this to rectify also the whole principle of acting
The destructive evil of war ridicules the romantic idea of finding freedom in unleashing violent force in the mystic mountains, and underlies the fake heroism of bloodshed.
Medieval Japanese warriors known as samurai follow a strict and orderly belief system. Not only were they one of the most elite warriors in human history, but they are one of the most morally structured fighters. Not only were they strong physically but they were spiritually strengthened as well. Being a samurai meant that what you stood and fought for had to come first and be prominently implemented into your life.
The Japanese were a prominent warrior group in the Heian Era (794-1185) who started off as tax collectors for the emperor. Warlords, called daimyos, quickly rose to power as the royals drifted further away from reality and loosened their grip on the empire. In order for the daimyos to have more control they required more soldiers, in which the Samurai came in. A Samurai’s worth was determined by how well he followed the rigid lifestyle, called the Bushido Code. It was essential for a Samurai to exert absolute power, “People dropped their eyes out of respect—and fear—because a Samurai had the right to kill anyone who showed him disrespect” (Ramirez, Stearns, Wineburg 517). The Bushido Code that closely monitored a Samurai’s life caused
Wang Lung is the main character of the book. He is very devoted to the land, and works hard for his success. However with all of his success, he becomes increasingly greedy for money. With this money, bought lots of land, spent money on sexaul affairs and women, and spoilt his sons. Speaking of his sons, they all live good lives and they don’t know what it’s like to be poor. As a result, Wang Lung see’s them repeat the same mistakes most rich people made, leaving the land.