The noh play, Atsumori focuses on Atsumori, a small but prominent character from the Tale of Heike. Atsumori is the son of Taira no Kiyomori whose death is tragically depicted in chapter 9.16 of the Tale of Heike. After the Taira have been defeated by the Minamoto, Atsumori fails to join the fleeing Taira fleets and is stopped and killed Kumagai no Naozane, a warrior serving the Minamoto clan. Naozane is beside himself with remorse after killing Atsumori and in the Tale of Heike vows to become a monk and in the Noh play, becomes a monk. The Tale of Heike focuses on the perspective of Naozane as he takes Atsumori’s life whereas the noh play focuses on the perspective of Atsumori’s angry spirit. These contrasting perspectives lead to varied …show more content…
depictions of both Atsumori and Kumagai. When comparing the death of Atsumori in both works it is apparent that the depiction of his death is different in the it is told from opposing viewpoints and that the importance of the flute is crucial to the Naozane and the readers understanding of Atsumori. The scene in the Tale of Heike when Naozane defeats Atusmori is a very poignant scene in that reveal important aspects of Naozanes character that are not brought to light in the noh play. When Kumagai No Naozane spots a fleeing Minamoto warrior, Atsumori, and engages him in a battle because he sees it as his chance to fulfill his ambition to fight a high ranking official. Just as he is about to take the head of this warrior he realizes that the man is in fact a boy that is of similar age to his own son and hesitates. Having accepted his defeat the Atsumori urges Naozane, who continues to hesitate, to kill him. “Killing this one person won’t change defeat into victory, and sparing him won’t change victory into defeat. When I think of how I grieved when Naoi got just a little wound, it’s easy to imagine how this young lord’s father would feel if he heard that he’d been killed. I have a notion to let him go.” (395) As more Minamoto warriors approach Naozane decides that it would be best for him to kill him because he will at least pray for the boy. In the noh play, however, readers are not given a glimpse of the internal struggle that Naozane faced when he takes Atsumori’s head. He is depicted as a warrior turned monk and the noh play fails to highlight this third aspect of Naozane as a father that deeply cares for his son. Another character that is depicted differently in the Tale of Heike and the noh play Atsumori is Taira No Atsumori.
In the Tale of Heike Atsumori is depicted as a young, but honorable warrior who is the embodiment of both bun and bu, as symbolized by the flute he carried and his honorable acceptance of his death. The section focuses on how his death leads Naozane to take up the priesthood later in life. However, in the noh play Atsumori’s character is given more depth, he is a vengeful spirit that is unable to find peace due to his violent and sudden death. When Atsumori is first introduced in the noh play he is depicted as a young, naïve, grass mower, a commoner at the bottom of the social pyramid. He is decision to go back to the Minamoto camp to retrieve his flute that he prized “very highly and” would hate “to leave [it] behind for the enemy’s taking” (43) reveals how his naïve decisions caused him to be left behind and meet his sudden death. In contrast to the Tale of Heike, in which Atusmori is able to accept his death as an honorable warrior would, in the noh play he is unable to rest because he sudden death prevented him from chanting Amida’s name so that he might enter the Western Paradise. This is a stark contrast to his introduction in the Tale of Heike, in which intricate explanation of his attire that makes it apparent to Naozane and the reader that he is a high ranking …show more content…
official. The flute that Atsumori carries with him also plays an integral role in both pieces.
It is a symbol of refinement not only because it sets Atsumori apart from other warriors as he embodies both bun and bu, both highly prized attributes of the time, but because of what is represents. The flute was passed down through the Taira clan as a gift from the retire Emperor Goshirakawa and represents the proximity of the Taira clan to the Imperial family. In highlighting the importance of the flute, it also reflects the beauty of the fall of the Taira. In both the Tale of Heike and the noh play Naozane is taken aback and amazed by Atsumori the warrior, who is the embodiment of bun and bu, and the grass mower, who is the embodiment of bun. To think that a man of such young age and class could master something as beautiful as the flute moves Naozane. The flute also symbolizes a world that Naozane can never hope to reach, although he has defeated Atsumori, an aristocrat, he will never truly defeat him because Atsumori’s higher
class. In comparing Atsumori’s death in the Tale of Heike and the noh play there are many similarities and differences. The depiction of the flute and what it comes to symbolize and reveal about Atsumori are similar in both works. It is a symbol of refinement and embodies the image of the ideal warrior of the time that had mastered both bun and bu. Although both Kumagae and Atsumori are crucial characters that appear in both telling’s of Atsumori’s death they are depicted very differently. The Tale of Heike is told from Kumagae’s perspective and depicts his internal struggle in his decision to kill Atsumori. The noh play, however, goes beyond the plot of the Tale of Heike and is able to provide the perspective of Atsumori and his angry spirit. The Tale of Heike and the Noh play, Atsumori, detail the experiences of two prominent characters from opposing sides while still focusing on the importance of the flute and the effect that it has on Naozane.
Just like all good stories, Sheikin chose to use imagery in many of his chapters. He does not describe in full detail every area the story takes place but gives enough to begin to picture the story. The author not only gives a visual picture but an auditory one as well. Steve chose to not tell the solely the story of Benedict Arnold, even though that is the title, but he told the story of John Andre as well. Andre became a foil character to Arnold. Andre was just joining the military to join whereas Arnold had a reason. Andre stayed true to his country until death; Arnold was a
This chapter is about when Takiko starts her new free life in the capital. She finds a job with the Emperor and makes money to survive on. The job is that she is a servant for the Emperor. She also plays as a musician playing her Kyoto.
...ut. I need a source like a diary, either from the lord or vassal's perspective. With that diary, we can see what the lord/vassal thinks of how their lives are like. We can find out what their daily routines. The Tale of the Heike, translated by Hirohi Kitigawa and Bruce Tsuchida, may have many issues with its reliability. This story is like a fairytale, describing how the relationship with the lord and vassal should be. It is said by Wikipedia that The Tale of the Heike has “differ[ent] versions[,] [which was] passed down through an oral tradition[.]”12 The original version of the story was probably written back in the day before the battle, not in 1975. As the story gets passed down, it gets changed. We won't know which version is the real one. I would need a diary from one person on each side of the battle. I would know what is happening and what they are thinking.
I will first begin by summarizing the plot of Family by Pa Chin and the plot of Some Prefer Nettles by Junichiro Tanizaki and summarizing the characters as I go along. I will then explain how the two authors constructed their characters on modernity and tradition and conclude this paper by explaining the themes of the novels and how I would compare the two novels.
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.
...ad a sense of relief that came over him when his duty is fulfilled, while the servant had a rush of excitement, followed by anxiety and nervousness from the old man’s heart beating and the fear of being exposed. Unquestionably, the guard and the servant see and experience things differently even through they are both faced with the obstacle of ending a life. They both take part in arranged killings and are vital parts to the death of the victims. But on the other hand, the guard sees he values of life while the servant could not care less for it, and the guard feels relief after the death while the servant experiences a shift of emotions from confidence to nervousness and anxiety. Without a doubt, both the protagonists are fundamental in determining the fate of the characters they kill, but in turn they equally have different views and responses towards their acts.
Throughout the Sailor, our Western convictions concerning death are brutally challenged. Death, in the Sailor, was something to be proud of, something to look forward to. Our first look at death is through the eyes of a child, our absurdist hero, Noboru. He, with his gang, proceeds to kill a kitten with his gang, an attempt to find meaning in what they believed to be a meaningless, fleeting existence. "How are we going to do it?" he asked. After he killed the kitten, and the boys performed a type of twisted surgery on the corpse, ...
Although cliché, the title I chose best summarizes the theme of Gunga Din into a simple phrase. Though Gunga Din was insulted and abused by the queens regiment, his life saving deed best reflected the character of Din. The narrator's portrayal of Din changes at a point in the story where the actions of their water boy tell the reader what kind of person Din truly was. The waterless climate created an intense desperation for water, which gave Din the opportunity to do something completely unselfish for the good of another. Din was obviously inferior to the narrator, but he had motives other than obligation to lend a helping hand to his superior. The theme is emphasized by the fact the actions of Din show the reader what type of person he is more than the narrator's initial degrading representation.
“Everyman” in this late English 15th century morality play, several ideas have been given a personal discussion since they appear to have natural application in the states of goodness among people. However, the topic of perception of the death and the treatment of death is paramount in the play. Death has formed a essential part of the play in that the absence of death would mean that there is no play at all. Everyman tries to defy death for the rest of the play. Death enables Everyman to be instructive and illuminative. The author has explored and adored death with certain specialties as being a cruel judge, a messenger of God, and a rescuer of humanity. The treatment and perception of death are paramount in that it is enormously incubated
...ans brought down their instruments, hung above the fireplace (Achebe 8).” These descriptors establish Unoka’s dedication to his culture, music, and specifically his flute. Unoka’s verbal abilities, and his love for music and culture are what make him an excellent representation of Kuumba. The principle of Kuumba is about doing the best you can in terms of leaving the community or village more beautiful than it had been. This is the only aspect that Unoka strives in. He has a passion for culture, and thrives off the energy of his village, and others, celebrating it. He “loved the good fare, and the good fellowship (Achebe 8). He didn't thrive in a conventional sense. However his enthusiasm for music and stories were noted throughout the village and even enough for him invited for several to other neighboring villages.
The story in ''The Mortal Immortal” is told by the first person narrator, who is Winzy, the main hero of the short story. As it is the first person narration, it is in some places semi-objective, and in some places subjective. It is an important factor, because the whole presentation of Cornelius, all information about him are coming from his assistant Winzy, and not from an objective narrator.
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.
In Yoruba tradition after a death of a king it must be followed by a ritual suicide of the king’s horsemen. This is essential for the king’s spirit to transfer from the world of the living into the world of the dead peacefully. If the king’s spirit is not accompanied by the king’s horsemen’s soul the king’s spirit will stay in the world of the living and harm the Yoruba people. The play begins with the ritual burial ceremony of the king. Elesin, the king’s horsemen, is dressed in elegant robes and enters the marketplace with a big dance; this dance symbolizes the transition between the two worlds. Elesin then reads poetry and songs about the world of the ancestors and the connectedness of the three worlds, after this is when Elesin is suppose to committee suicide.
Okonkwo embodies all the ideal and heroic traits of the Igbo culture. He is strong, authoritative, hardworking, and successful. The opening sentence states that “Okonkwo was well known throughout the nine villages and even beyond” (3). Okonkwo is great and famous because of his “solid personal achievements” (3). Okonkwo first achieved fame and recognition when he became the village’s wrestling champion. At eighteen years of age, he had “brought honor to his village” by defeating the seven-year champion. By winning the wrestling match, Okonkwo demonstrates to his village his great strength and skill as a warrior. After that his fame spread “like a bush-fire in the harmattan” (3). Okonkwo governs his household with authority. He “ruled his household with a heavy hand” (13). His wives and children lived “in perpetual fear of his fiery temper” (13). Okonkwo is a hard task-master. He works on his farm “from cock-crow until the chickens went to roost” and compelled his family to do the same (13). He does not tolerate laziness in his sons. He punishes his son, Nwoye, with “constant nagging and beating” (14). Okonkwo is the sole and unquestionable authority figure in his household.
...te. In old times, most flutes were made of bamboo, which allowed even common people to play it. By covering the holes and blowing through the side hole while moving the fingers flexibly between the six holes, a sound will be produced that is leisurely and mellifluous like sound from far away. This always reminds people of a pastoral picture of a farmer riding on a bull while playing a flute