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.
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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
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...a life away from her family, so instead she takes charge and finds a way to make money so she can eat and return to her small village. Change becomes a constant in Rukmani’s life, and she greets it with authority.
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...
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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...
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.