In Murasaki Shikibu’s Tale of Genji, the court lifestyle of Heian Japan is emphasized throughout the novel. Thus, in making the novel more relatable to commoners of that time, Shikibu used Buddhist ideals, a prominent belief of the time, to represent the underlying messages of the story. From Genji’s Karma/Dhukka to his identity represented throughout the novel, it becomes clear that ties to humanly things such as jealously and materialistic beings will only bring one’s downfall through spirit possession and not the internal peace (nirvana) pursued by everyone at the time. Using this idea of evil spirits and their lively possessions, Shikibu emphasizes the importance of finding peace within one’s self.
Thus, the relationship between Genji
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This idea of suffering, dukkha, is another Buddhist idea represented in the novel. Originally, Genji views the confrontation with Lady Rokujo’s spirit as a humbling experience as he says “I’m sure its demon will excuse me” (pg. 70) meaning that he is exempt for such humanly issues. However, then realizing it’s his constant denial of reality that brings him such pain in his dreams. So, for explain the ideals in suffering, Princess Aoi’s situation illustrates this battle between Genji’s social promotion and his psychological decline. Princess Aoi is Genji’s first wife as she is the daughter of the minister of the left, who helps with Genji’s rising of rank even though he is a concubine’s son. Later in the novel, when Genji is with Princess Aoi, due to their expected child, Lady Rokujo “suffered from conflicting emotions” (pg. 138) as she knew the birth of Genji’s child would create an even bigger barrier in their relationship. Allowing her emotions to take over, Lady Rokujo became the “malignant spirit” (pg. 138) that ended up killing the already miserable Aoi. As Genji was asking for prayers in honor of Aoi, he already knew it was too late as his ties to Lady Rokujo were still too strong to be broken. Thus, realizing his constant desires are leading to other’s ends and soon his own. Thus, becoming a monk towards the end
Inspiration comes from many forms; it comes from friends, family, music, television, and even strangers. Inspiration can come at one subtlety or it can hit you like a bus. Professional, amateur, or even a novice can be inspired to make something. No matter what, an artist needs inspiration in order to create something out of nothing or in order to help finish an already existing art work. Here the inspiration from Mariko Mori will be conveyed, to know what helps give her inspiration that motivates her to do the art work that she does. Whether she herself is doing the performance or it is just a sculpture in a gallery, her works are unique, just like a finger print. What gave her the inspiration on two of her works;
Akira Kurosaw’s Seven Samurai is a film that encompasses various ideologies in order to allow the audience to understand the lives of Japanese people during the 1600’s. The film delves deep in social issues of the roles of the people within the society, the expectations as well as the obligations within the respected castes and elements within groups of ; suffering, working together, protecting family and working for the better good of the community.
Yu, Han. “Memorial on Buddhism”. Making of the Modern World 12: Classical & Medieval Tradition. Trans. Richard F. Burton. Ed. Janet Smarr. La Jolla: University Readers, 2012. 111-112. Print.
Musui’s Story is the exciting tale of a low class samurai’s life towards the end of the Tokugawa era. Although one would normally imagine a samurai to be a noble illustrious figure, Musui’s Story portrays the rather ignominious life of an unemployed samurai. Nonetheless, this primary account demonstrates the tenacity of samurai values and privileges present at the end of the Tokugawa shogunate. The social status of samurai had been elevated to such a state that even someone like Musui was easily able to gain influence in everyday affairs with his privileges. Not only that, but he had retained his values as a warrior and still kept great pride for his arts in weaponry.
Duhkha, Buddhist clerics, and cremation rituals are the concepts of Buddhism that were mentioned in the Tale of Genji. Kami and spirits are the concepts of Shinto that were mentioned in the story. Duhkha was demonstrated in the Tale of Genji because Aoi was suffering and was near death while she was possessed by evil spirits and when she gave birth to her son. Duhkha includes Buddha’s Four Noble Truths which include the ideas that suffering exists in the world, suffering is caused by cravings and desires, and there is a way to end suffering and pain, and the Noble Eightfold Path. The Tale of Genji also mentions concepts of Buddhist clerics and cremation. The Buddhist clerics came to try to heal Aoi with poppy seeds but unfortunately it
When looking at much of the world’s ethical views and morals today, many of its standards can draw back to that of the samurai. This warrior class of Feudal Japan contributed greatly to the development of social values that people today constantly follow. It is important to look to past events and cultures to enrich the future and the ideals of the samurai are ones that better people in self fulfilling ways. Whether it be to instill positive values to children or applied to become successful in the “real world”, the virtues and morals set forth by the samurai are invaluable teachings that will influence society for many years to come.
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 tales communicate that a warrior’s duty was to protect the Buddhist Law, which in turn meant to protect the imperial authority. Written letters between the Onjji to the Kfukuji Temples avow that the “great virtue of the Buddhist Law is that it guards the imperial authority; the imperial authority endures because of the Buddhist Law.” Furthermore, the letters articulate that whether one is “southern capital or northern, we are all disciples of the Buddha.”
In Hagakure, a great emphasis is placed on the samurai ideology surrounding death. The samurai should live his life as though his body has already passed, and through this “he gains freedom in the Way”. His whole life will be without blame, and he will succeed in his calling”. This detachment is of fundamental importance to the samurai, and this relationship with death is influenced heavily by Buddhism. Zen Buddhism influenced the samurai by lending him his unique respect for life and death.
Suffering arises early in the story and is a theme is a them that will preside over the entire text, valuable to the reader because of The Buddha’s first Noble Truth: human life is consists almost entirely of suffering. When the Buddha is just a baby, the relief from suffering he will provide is predicted. “Be steadfast, therefore, give up anxiety, be cheerful, for your clan will flourish without a doubt; The one born here as your son is the leader of those overcome by the suffering in the world” (B 1.33). The
Buddhism is a beautifully complex religion that since its widespread introduction to Japanese culture by the end of the seventh century has made enormous impacts and direct influences on the government and cultural practices of society (Hoffmann 36). The Japanese death poetry composed by Zen monks and haiku poets, compiled by Albert Hoffmann, is an excellent literary explication of the Japanese attitude towards death. This attitude is most notably derived from Buddhism, the main religion of the Japanese people. Even Japanese citizens who are not literal Buddhists still embrace the philosophies that have now become instilled in the cultural history of Japan due to such a heavy Buddhist influence on government and education throughout the centuries.
The way the Chinese have conceived of their past, and of themselves, was profoundly shaped by the Shiji. The Shiji, or Historical Records, was a monumental work composed of 130 chapters written during the Han dynasty by Sima Qian. It presented the past from several perspectives: a chronological narrative of political events; topical accounts of key institutions; and biographies of individuals that Qian saw as important. The political narrative began with the Yellow Lord and continued through the Xia, Shang, and Zhou dynasties, down to the Han dynasty and Emperor Wudi of Sima Qian's day. Chronological charts with genealogical data and information on government posts came next, such as the calendar, state ritual, the construction of waterworks, and government finance. Thirty chapters were devoted to the ruling houses of the states of the Zhou period, recounting the reigns of successive rulers. These were supplemented by seventy chapters on other important individuals, including not only great officials and generals, but also people not associated with the government, both the famous and infamous including: philosophers, poets, merchants, magicians, and even rebels. Even non-Han people along the frontiers were described in narrative accounts. The emergence of a unified empire out of the warring States of pre-Qin China, the consolidation of the former Han, and the relations between the empire and the surrounding people groups were major themes in the Shiji. Qian’s records also offer insights through his role as a historian and his attempt to resolve a life changing experience he distinguished in his own life. Equally important, Sima Qian, by writing so well on so much, had a profound impact on Chinese thinking about government, pers...
Fourteenth century Japan was a time of peace for many people. Buddhism had just become a major part of Japanese culture due to the Shogun Yoshimitsu. He became ruler in 1367 at the sapling age of ten (Waley 21). Yoshimitsu needed to distinguish himself from his ancestors and he did this by being devoted to Buddhism, specifically the Zen Sect (21). “Zen Buddhism and the life and teaching of Shinran are popularly identified as typical Japanese Buddhism.” (Takeda 27) However Buddhism, in Japan, is different and unique from Buddhism in other countries because it is considered the “funeral religion” (27). This is mainly influenced by ancient Japanese beliefs of the onryo.
In The Tale of Genji, Rokujo’s character along with the possession is used in order to exhibit traits that otherwise would be seen as negative without them becoming unsightly. Due to the nature of Murasaki Shikibu writing in the possession of Aoi no Ue, she can use that as an excuse for Aoi no Ue to speak her mind and show how she feels without be criticized for it; as women were usually meant to keep a calm demeanor while hiding or hinting to their emotions. An excerpt from The Catalpa Bow by Carmen Blacker, furthers this by saying that “All these varieties of malignant spirit are capable of possessing a human being and inflicting upon him sickness, enfeeblement and mental derangement of numerous kinds” (Blacker 50). This notion makes sense when remembering that this story was written by a woman herself and would want to be able to express what she feels but must in a clever way. Let alone that this story would probably mostly be read by those who are socially higher due to the very nature of the story itself and the limited literacy rates at the
LaFleur, William R. The Karma of Words: Buddhism and the Literary Arts in Medieval Japan. 1983: University of California Press, Berkeley.
During ancient times, many women were suppressed in society and denied basic educational rights. A very few women were brave enough to defy what social standards were set among them. Among these strong female figures was a young woman by the name of Murasaki Shikibu. Her spectacular literary works and opinions on women’s rights helped shape Japanese culture for both men and women.