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The tale of genji analysis
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The protagonist of the book – The Tale of Genji, was a factious character named Genji who was certainly a legendary figure. His countless intimate relationships with a variety of women were truly unbelievable by modern standards. It is easy for the readers to notice the amorous character of Genji. However, behind this certain image, there were surely some other noticeable traits of him through his affairs with some of the important women in his life. For instance, he was brave and treated the women he loved with sincere and courtesy; moreover, when it came to women, he was sort of an unrealistic perfectionist. Nonetheless, sometimes he could also be selfish for his own interest without taking other’s ideas and feelings into consideration.
Genji showed great braveness through his love for the unfortunate dead beauty – Yugao. Their intense love comes so fast and deceased instantaneously as well. Yugao was different from the women whom Genji would normally have been interested in. However, perhaps just because of her uniqueness, Genji fell in love with her deeply. Afterward, he even persuaded Yugao to elope with him. Unfortunately, shortly after their journey had just begun, Yugao died tragically for no reason at all. Witnessing Yugao’s death, he shed heart-broken tears. To avoid the gossip among the public, he could not accompany her before she was laid into the grave, though he wanted to badly. It was miserable for him. Genji was undoubtedly not a brave person since he was always cautious about keeping the secret affairs from leaking to the public; he cared about his reputation. Nevertheless, after some struggles, he decided to see her for the last time at the risk of being caught because he loved her with all his heart. Hi...
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... After he possessed the girl, he raised her according to his thoughts and ideas, hoping that someday she would become the perfect woman he had been searching for. This might sound unfair to the girl because he deprived Murasaki of freedom and autonomy. Nonetheless, to achieve his perfectionism he would do anything, which was selfish but intriguing.
To sum up, Genji had many praisable characters based on the ways he treated his lovers, such as braveness and genuineness. However, it was kind of a sickness that he tried to raise a girl to be a perfect lover by stealing someone who did not belong to him. This was just as selfish as the way he betrayed his father who loved and cared for him unconditionally. Overall, Genji, the protagonist of The Tale of Genji was truly a fascinating person who possessed a variety of characters, which made this book really interesting.
"You're a human being, not an animal. You have the right to be loved" (262). "Son of the Revolution" by Liang Heng and Judith Shapiro was a book that showed how inhumane many of the aspects of Chinese life were during the Cultural Revolution. The book followed Liang Heng through many of his childhood memories to his departure from China in his twenties. The book applied a real face to the important movements during the Cultural Revolution, the effects that "the cult of Mao" had on society and Heng, and the way the period affected Heng's personal family life.
Like walking through a barren street in a crumbling ghost town, isolation can feel melancholy and hopeless. Yet, all it takes is something like one flower bud to show life really can exist anywhere. This is similar to Stephen’s journey in The Samurai’s Garden. This novel is about an ailing Chinese boy named Stephen who goes moves to a Japanese village during a time of war between Japan and China to recover from his disease. By forming bonds with several locals and listening to their stories, he quickly matures into a young adult. Throughout the novel, Gail Tsukiyama shows how disease forces Stephen into isolation; however, his relationship with Sachi and his time spent in Matsu’s garden lead him out of solitude.
...to perspective for him. He finally got to understand that he was the last one left. If he did not share anything and everything he knew about his tribe, they would perish forever.
In the novel Life of a Sensuous Woman, Ihara Saikaku depicts the journey of a woman who, due to voraciously indulging in the ever-seeking pleasure of the Ukiyo lifestyle, finds herself in an inexorable decline in social status and life fulfillment. Saikaku, utilizing characters, plot, and water imagery, transforms Life of a Sensuous Woman into a satirically critical commentary of the Ukiyo lifestyle: proposing that it creates a superficial, unequal, and hypocritical society.
Ironically, Murasaki was able to write The Tale of the Genji in a patriarchal environment, which was typically dominated by male poets and historical writers. The background of this 11th century Japanese “novel” defines the unusual circumstances of a male-dominant literary culture, which allowed Murasaki to tell this story as a female author. In her own diary, Murasaki Shikibu writes about the power of patriarchal authority in the royal court, when she learns that the emperor was reading Tale of Genji. This aspect of 11th century Japanese society defines the assumption of ignorance and submissiveness that Murasaki had to endure as a female
Literature is the key to our world or language. Many writers have emerged from this subject such as Homer who wrote The Odyssey and Euripidies who wrote about the evil Medea. Also mentioned in this paper are the Thousand and One Arabian Nights which is a collection of folktales and stories that are compiled into one. Each of these works of literature has a woman character that has many similarities in solving their problems. In The Odyssey the woman character that will be in comparison is Penelope which is Odysseus’s wife. In the story of Medea, Medea is of course the character we will be discussing and Shaharazad is the woman character from the Thousand and One Arabian Nights that will also be in comparison. Each of these women find themselves in a particularly “sticky situation.” However, Penelope, Medea, and Shahrazad are three strong women whose perseverance and cleverness help them to attain their goals.
In the novel Segu, Maryse Conde beautifully constructs personal and in depth images of African history through the use of four main characters that depict the struggles and importance of family in what is now present day Mali. These four characters and also brothers, by the names of Tiekoro, Siga, Naba, and Malobali are faced with a world changing around their beloved city of Bambara with new customs of the Islamic religion and the developing ideas of European commerce and slave trade. These new expansions in Africa become stepping stones for the Troare brothers to face head on and they have brought both victory and heartache for them and their family. These four characters are centralized throughout this novel because they provide the reader with an inside account of what life is like during a time where traditional Africa begins to change due to the forceful injection of conquering settlers and religions. This creates a split between family members, a mixing of cultures, and the loss of one’s traditions in the Bambara society which is a reflection of the (WHAT ARE SOME CHANGES) changes that occur in societies across the world.
Love and affection is an indispensable part of human life. In different culture love may appear differently. In the poem “My god my lotus” lovers responded to each other differently than in the poem “Fishhawk”. Likewise, the presentation of female sexuality, gender disparity and presentation of love were shown inversely in these two poems. Some may argue that love in the past was not as same as love in present. However, we can still find some lovers who are staying with their partners just to maintain the relationship. We may also find some lovers having relationship only because of self-interest. However, a love relationship should always be out of self-interest and must be based on mutual interest. A love usually obtains its perfectness when it develops from both partners equally and with same affection.
In the short story “The Cheater’s Guide to Love” by Junot Diaz, the author pinpoints on the Yunior’s life as a writer and college professor who is also struggling with his romantic relationships. The short story is filled with his experiences of using women for his beneficial needs and how it negatively affects him. It focuses on Yunior’s downfall through life after the destruction of his relationship with his fiance. The diction includes the narrator’s hateful consideration of women and a paradox of his own endeavors which prevent him from pursuing a meaningful relationship, but he grows to realize that he treats women awfully and his ex did the right thing by leaving him due to his untruthfulness.
This essay explores the role of women in Homer's Odyssey, James Joyce's Ulysses (1922) and Derrick Walcott's Omeros (1990), epics written in very different historical periods. Common to all three epics are women as the transforming figure in a man's life, both in the capacity of a harlot and as wife.
Many readers feel the tendency to compare Aphra Behn's Oroonoko to William Shakespeare's Othello. Indeed they have many features in common, such as wives executed by husbands, conflicts between white and black characters, deceived heroes, the absolute vulnerability of women, etc. Both works stage male characters at both ends of their conflicts. In Othello, the tragic hero is Othello, and the villain is Iago. In Oroonoko, the hero is Oroonoko, the vice of the first part is the old king, and the second part white men in the colony. In contrast to their husbands, both heroines—Desdemona and Imoinda—seem more like "function characters" who are merely trapped in their husband's fates, occasionally becoming some motivation of their husbands (like Desdemona is Othello's motivation to rage, Imoinda's pregnancy drives Oroonoko restless to escape). While Shakespeare and Behn put much effort in moulding them, to many readers they are merely "perfect wives". This paper aims to argue that, Desdemona and Imoinda's perfect wifehood may be the product of compliance to male-dominated societies, where women are
Murasaki Shikibu’s Tale of Genji, set in the Heian Period, gives a good idea of what the model Heian man and Heian woman should look like. Genji himself is like a physical embodiment of male perfection, while a large portion of the Broom Tree chapter outlines the ideal of a woman—that it is men who decide what constitutes a perfect woman, and the fact that even they cannot come to decide which traits are the best, and whether anyone can realistically possess all of those traits shows that the function of women in the eyes of men of that period was largely to cater to their husbands and households. Broken down, there are similarities and differences between the standard for Heian men and women, and the Tale of Genji provides excellent examples of characters who fit into their respective gender roles.
The male dominated society of the Heian and Tang periods led to the creation of biased ideals of men and women. Although the author of the Genji Monogatari, Murasaki Shikibu, was a woman, her perception of male and female ideals was also influenced by centuries of male dominated thought as conveyed through the vast amounts of Chinese culture which permeated the society she was a part of. Thus, one can read the Genji Monogatari as an example of gender ideals in Heian Japan as well its Chinese predecessor, the Tang dynasty.
The human relationship can be interpreted as interpersonal or intimate; stemming from these two classifications are many of the reasons for characteristic development within human nature. By studying literary works we can glimpse into human behavior and learn what actually causes a person’s actions and downfalls. Many of these works have shown the effects a dominant and inferior relationship may cause, ranging from self-independence to parental influence. We’ve seen the defiance of rulers, the mimicking actions of father and son, the comparison of siblings, and the rebellion of a son.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.