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Japan
Japan
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In the same way Japanese poetry often alludes to or derives from the canon of poetry that precedes it, noh plays are often based off of classical Japanese literary sources that form the framework for the play’s themes and moral message. Many of these plays reference poems from revered anthologies, such as the Shinkokinshū, within the play’s dialogue, but it is the monogatari or tales that provide the foundation for certain noh plotlines because of their vast array of character references and plotlines. These tales are the primary sources of information for two plays in particular written by the famous Japanese playwright Zeami: Atsumori and Matsukaze. The warrior-play Atsumori draws from the famous war epic The Tale of Heike to further an anti-war message grounded in the original text, as well as to further explore Buddhist themes of attachment and karmic ties. Matsukaze draws its origins and background from Murasaki Shikibu’s The Tale of Genji and Ariwara no Narihira’s The Tales of Ise for location, tone, and themes of longing in order to juxtapose the Buddhist duality of attachment and detachment from this world.
Zeami’s Atsumori directly utilizes the characters of Kumagai and Atsumori from “The Death of Atsumori” in The Tale of Heike as the central characters (waki and shite respectively) of the play. Having these established characters and their well-known background story allows for the play’s storyline to move in a different direction from the original text in terms of a message and meaning. The original Atsumori text in The Tale of Heike focuses on the contrasts between the characters of Kumagai and Atsumori in terms of class and refinement, as well as the Buddhist theme of non-violence and salvation through prayer in the...
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...se emotions as a foundation for a Buddhist message on attachment. In the end of the play, Matsukaze is unable to forsake her love for Yukihira, while her sister Murasame finally recognizes the madness in their pining and leaves her sister behind, detaching from the world and her own passionate longing.
Works Cited
Narihira, Ariwara. “The Tales of Ise.” Anthology of Japanese Literature. Ed. Donald Keene. New York: Grove Press, 1955. 67-71.
Watson, Burton and Haruo Shirane. “The Death of Atsumori.” The Tales of Heike. Columbia University Press, 2006. 11 April 2011.
Zeami. “Atsumori.” Japanese Nō Dramas. Ed. Royall Tyler. London: Penguin Books, 1992. 37-48.
Zeami. “Matsukaze.” Japanese Nō Dramas. Ed. Royall Tyler. London: Penguin Books, 1992. 183-204.
Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor.
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.
The play is filled with symbolism that points to the dramatic and haunting conclusion. The flowers and the shakuhatchi are symbols of beauty, lost love, intima...
Ogawa, D. (1993) The Japanese of Los Angeles. Journal of Asian and African Studies, v19, pp.142-3.
Nō dramas emerged in Japan in the ca. 14th century and were performed in shrines and temples in Kyōto and Nara. The plots of nō plays were based on historical events, literature, legends, and contemporary events. At the time when nō plays were being written, many authors drew upon references or allusions from various literary sources such as Genji monogatari, Ise monogatari, and the Kokinshū. Two examples of nō plays that were based on Genji monogatari are Matsukaze and Nonomiya. After reading Matsukaze and Nonomiya, it is interesting that both plays share a similar plot even though they are written by different authors. Matsukaze, or also known as Pining Wind, was written by Zeami Motokiyo (1363 – 1443) around 1412 and according to Tyler, “[t]he background of Pining Wind includes a play which is now lost, Shiokumi (‘Gathering Brine’)” by Kiami (Tyler 183). The nō play Nonomiya, or also known as The Wildwood Shrine, is believed by most people to have been written by Komparu Zenchiku (1405 – 1468), who is the son - in - law and apprentice to Zeami. Both Matsukaze and Nonomiya share a similar story line and literary sources, but differ in how they were applied to contribute to the play’s plot, setting, characters, and relaying the emotion of the characters.
21 Pitts, Forrest R., Japan. p. 113. -. 22. Davidson, Judith. Japan- Where East Meets West, p. 107.
The Tale of the Heike is a collection of tales that depict the livelihood of warriors during the Heian and Kamakura period. These tales illustrate that warriors during this period spent their existence dedicated to their duty to the Buddhist Law and that the growing contention arose from each warrior’s devotion and loyalty to the Buddhist Law.
The Heian period(794-1185), the so-called golden age of Japanese culture, produced some of the finest works of Japanese literature.1 The most well known work from this period, the Genji Monogatari, is considered to be the “oldest novel still recognized today as a major masterpiece.”2 It can also be said that the Genji Monogatari is proof of the ingenuity of the Japanese in assimilating Chinese culture and politics. As a monogatari, a style of narrative with poems interspersed within it, the characters and settings frequently allude to Chinese poems and stories. In addition to displaying the poetic prowess that the Japanese had attained by this time period, the Genji Monogatari also demonstrates how politics and gender ideals were adopted from the Chinese.
Suzuki, Tomi. Narrating the Self: Fictions of Japanese Modernity. Palo Alto: Stanford University Press, 1996.
Matthew Gerber. “The Importance of Poetry in Japanese Heian-era Romantic Relationships”. 2007 May. 2011 June 3.
Japan is known for its unique gardening style, their diverse plants, their food, and their beautifully woven tapestries. Yet, most do not know about the history of their drama. Japanese Noh theatre is one of the most precise and prestigious art forms. It has been this way since the fourteenth century when Zeami first created Noh theatre. Zeami’s most famous plays, such as Kinuta, are still performed today. Japanese drama has not changed much since the fourteenth century because it has made a lasting effect on the culture. Noh theatre had a major influence on fourteenth century Japan and has affected modern day drama.
Roberts, Jeremy. Japanese Mythology A to Z (Mythology a to Z). New York: Facts on File, 2004.
Shirane Haruo. et al. Early Modern Japanese Literature: An Anthology 1600-1900. New York: Colombia University Press, 2002. Print.
Yukio Mishima’s Temple of the Golden Pavilion, set in postwar Japan, gives way to a reflection of the postwar experience both the representation of military aggression and in use of symbolism of beauty, loss, and destruction. A story about Mizoguchi, a young, stuttering acolyte’s obsession with beauty lends itself to the conflagration of the Temple of the Golden Pavilion, based loosely on a true story about the Kinkaku-ji.
In Noh there are many things that are significant, and that have deeper meanings. For instance the simple way that they walk, sing, and move all mean something more. While doing the presentations on a Noh play I noticed something beautiful about the play that I had chosen. Spring was mentioned a lot, it had many cameos in the play. In Yuya the entire back story of the play is the discussions of going to see the cherry blossoms. Spring in Japan means a whole lot more than just another season. It means new life, and new beginnings, a way for family to come together and start anew. So while taking this course I really picked up on the seasonal aspect of Noh whether it be spring, autumn, summer, or winter. Each setting gave a new feeling of how people reacted, and it’s true in real life also. So in this essay even though spring will be the main topic I will be discussing all of the seasons and what they mean in Japanese culture, with some symbolic things and Noh examples also.