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	<title>denbushi.blog &#187; Essays</title>
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	<description>News, Views and Reviews by Michael Rollins in Tokyo</description>
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		<title>Israeli Tail Wags American Dog</title>
		<link>http://www.denbushi.net/2004/10/19/israeli-tail-wags-american-dog/</link>
		<comments>http://www.denbushi.net/2004/10/19/israeli-tail-wags-american-dog/#comments</comments>
		<pubDate>Tue, 19 Oct 2004 05:20:59 +0000</pubDate>
		<dc:creator>michael</dc:creator>
				<category><![CDATA[Essays]]></category>

		<guid isPermaLink="false">http://207.5.41.52/WordPress/?p=110</guid>
		<description><![CDATA[This piece by Gwynne Dyer is one of the best assessments of the Israeli-Palestinian conflict I&#8217;ve seen. Far from the standard pap you get from the US media, a fiction foisted on us almost daily in which the persecuted and outnumbered Jews fight bravely against a savage horde of crazed Arabs bent on their singular [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.independent-media.tv/item.cfm?fmedia_id=9397&amp;fcategory_desc=Under%20Reported">This piece</a> by Gwynne Dyer is one of the best assessments of the Israeli-Palestinian conflict I&#8217;ve seen. Far from the standard pap you get from the US media, a fiction foisted on us almost daily in which the persecuted and outnumbered Jews fight bravely against a savage horde of crazed Arabs bent on their singular destruction, his essay casts a refreshingly honest illumination on events as they actually are, where the Israelis and their &#8220;settlers&#8221; are the terrorists, and the Palestinians are the victims in an invasion that finds them ground further and further under the heel of an American-made boot.</p>
<p>First you&#8217;ve heard of it? Well, read on&#8230;<br />
<a id="more-110"></a><br />
In a U.S. election campaign that is more about foreign policy than any presidential race in decades, one issue is completely off- limits: the Israeli-Palestinian conflict. </p>
<p>George W. Bush and John Kerry both back Israel 100 per cent, and neither man will offer a single word of criticism about Israeli Prime Minister Ariel Sharon&#8217;s &#8220;disengagement&#8221; plan, even though it means abandoning the notion of a peace settlement. </p>
<p>Once again, the Israeli tail is wagging the American dog. </p>
<p>Last week, Sharon&#8217;s chief of staff and most trusted adviser, Dov Weisglass, indulged in a carefully calculated indiscretion in an interview with the newspaper Ha&#8217;aretz. </p>
<p>&#8220;The `disengagement&#8217; is actually formaldehyde,&#8221; he said. &#8220;It supplies the amount of formaldehyde that is necessary so there will not be a political process with the Palestinians.&#8221; Perfectly true, of course, and yet it was a shocking thing to say out loud. </p>
<p>Sharon was never really going to accept a peace deal with the Palestinians that required giving up most of the illegal Jewish settlements in the occupied territories conquered by Israel in 1967. Indeed, he was the man responsible for starting the settlements in the first place. </p>
<p>Yet, when he came to power in 2001 he inherited the Oslo peace accords, which imagined an Israeli-Palestinian peace based on two states living side by side ・and the Palestinian state was to be created on exactly those territories. </p>
<p>Sharon had to pretend that he agreed with that goal because the whole international community (including the U.S.) supported the two-state solution. Over the past few years the &#8220;Oslo process&#8221; mutated into the so-called &#8220;road map&#8221; to peace, but the goal remained the same: Israeli evacuation of the occupied territories and the creation of a Palestinian state living peacefully alongside Israel. In the past six months, however, Sharon has achieved breakout. </p>
<p>&#8220;Disengagement&#8221; means that Israel will evacuate its settlements in the densely populated Gaza Strip, where 7,500 Jews live surrounded by 1.3 million Palestinians, and four other tiny settlements with only a few hundred people that lie beyond the &#8220;security fence&#8221; in the northern West Bank. </p>
<p>They never made any sense in terms of the cost of protecting them anyway. </p>
<p>But by abandoning them, Sharon can seem to be making a major concession for peace ・while hanging on to all the other West Bank settlements where the vast majority of the settlers live forever. </p>
<p>Forever is a long time, and Sharon still maintains the pretense that at some future time, when there is a different Palestinian leadership, there might be further negotiations about a Palestinian state. </p>
<p>But Weisglass spilled the beans on Oct. 6, pointing out that he had negotiated an agreement with the Bush administration in late August in which the United States had changed its policy of 37 years and agreed that the illegal Jewish settlements in the West Bank would eventually become part of Israel. </p>
<p>The 190,000 Jewish settlers there, he boasted, &#8220;will not be moved from their place.&#8221; </p>
<p>&#8220;What I effectively agreed to with the Americans was that part of the settlements would not be dealt with at all, and the rest will not be dealt with until the Palestinians turn into Finns,&#8221; said Weisglass, adding that this would stall the peace process indefinitely. </p>
<p>&#8220;When you freeze that process, you prevent the establishment of a Palestinian state, and you prevent a discussion on the refugees, the borders and Jerusalem. </p>
<p>&#8220;Effectively, this whole package called the Palestinian state, with all that it entails, has been removed indefinitely from our agenda &#8230; all with a presidential blessing and the ratification of both houses of Congress.&#8221; </p>
<p>Weisglass said what he did to win back the more fundamentalist supporters of Sharon&#8217;s Likud party, who are threatening to abandon the party on the grounds that God gave Israel the land and it must never yield an inch of it. </p>
<p>Bush, presumably, did what he did in order to retain the votes of the extreme evangelical Protestants, estimated to account for a third of the Republican core vote, who believe that God&#8217;s plan requires the expansion of Israel and a great war in the Middle East. </p>
<p>But why does Kerry go along with it? </p>
<p>Presumably because his advisers tell him that in a tight election it would be suicide to alienate American Jews, most of whom reflexively support any Israeli government, regardless of its policies, and most of whom are still traditionally Democratic voters. </p>
<p>It all make sense in terms of political tactics, but it commits America to a policy that is contrary to international law and is not supported by any other government in the world except Israel&#8217;s. </p>
<p>If Kerry should win, it means he, too, would be shackled to a policy that makes it impossible for America&#8217;s European and Arab allies to co-operate in any Middle Eastern initiative he might launch with the goal of extricating American troops from the mess in Iraq. </p>
<p><i>Gwynne Dyer is a Canadian journalist based in London whose articles are published in 45 countries. </i></p>
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		<title>Katakana Revolution</title>
		<link>http://www.denbushi.net/2003/08/04/katakana-revolution/</link>
		<comments>http://www.denbushi.net/2003/08/04/katakana-revolution/#comments</comments>
		<pubDate>Mon, 04 Aug 2003 03:11:36 +0000</pubDate>
		<dc:creator>michael</dc:creator>
				<category><![CDATA[Essays]]></category>

		<guid isPermaLink="false">http://207.5.41.52/WordPress/?p=49</guid>
		<description><![CDATA[The Japanese language is in trouble. The arrival of the Digital Age finds it increasingly at the mercy of the media and the marketplace, each better equipped today than at any other time in history to shape society, culture, and the modern vernacular. The rush towards globalization and eager pursuit of the technological tools that [...]]]></description>
			<content:encoded><![CDATA[<p>The Japanese language is in trouble. The arrival of the Digital Age finds it increasingly at the mercy of the media and the marketplace, each better equipped today than at any other time in history to shape society, culture, and the modern vernacular. The rush towards globalization and eager pursuit of the technological tools that facilitate it have created in Japan an environment of indiscriminate assimilation, where the foreign appellations for emerging technologies are cut-and-pasted from English directly into the various Japanese media. The language of Nippon is being subtly transformed through a reckless frenzy of linguistic borrowing, and rather than enrich the language, this <i>katakana revolution</i> will ultimately only dilute and pollute it.</p>
<p><p>The source of most of the recent imports is the computer industry at large and the proliferating media that report on it. With the lion&#8217;s share of computer manufacturing, R&amp;D, and software production being conducted in the United States, it follows that a correspondingly large portion of the latest computer terminology is English. <i>Magneto-Optical drive</i>. <i>Reduced Instruction Set Computing</i>. <i>Web browser</i>. America is the birthplace of the majority of the coinages, and consequently English has become the lingua <i>technotica </i>of the Digital Age.</p>
<p><p>This propagation of modern language across national borders is inevitable, and various countries respond to it in uniquely </p>
<p>different ways. In France, legislation has been enacted to check the </p>
<p>introduction of foreign words by requiring their translation into French. Exporting similar English terms to Chinese, on the other hand, faces no government opposition, but does require the creation of corresponding new terms using <i>hanzi</i> , or Chinese characters. In either case, the process involves veritable translation from English to the respective languages. The Japanese language, however, is equipped with a script designed specifically for rendering </p>
<p>foreign words, or <i>gairaigo</i>, called <i>katakana</i>.</p>
<p><p>The function of gairaigo in Japanese might be compared to that of the cache in a computer CPU or disk drive, where &quot;data&quot; is stored until the system has the time or resources to process it. For much gairaigo enough time has passed (decades or even hundreds of years) since its introduction that it has simply become part of the language. However, the technological vocabulary flooding into Japan today is unknown to the vast majority of Japanese speakers. Held indefinitely in the cache these terms exist in a kind of linguistic limbo, belonging to neither the original language nor Japanese.</p>
<p><p>As we hurtle toward the 21<sup>st</sup> century the world by degrees grows smaller, and the borders that divide us are crumbling. The primary agents of change in this transformation&#8211;mass media, information technology, and the Internet&#8211;have arrived in Japan, and they come laden with more than the promise of increased productivity and CRT-driven entertainment. This modern Black Ship will initiate sweeping changes in the Japanese language, the repercussions of which may not be realized until too late. In the course of this article I will highlight some of the characteristics of what I call the <b>Katakana Revolution</b>, and explain why it behooves us to </p>
<p>pay close attention to the changes it is causing in both Japan and </p>
<p>Japanese.</p>
<p><p><b> Background</b></p>
<p><p><i> Gairaigo </i> (loan words) have been a part of the Japanese language for centuries. The first standardized characters used by the Japanese were <i>kanji</i> imported from China in the 6th and 7th century. Even the first native script, the phonetic <i>kana</i> syllabary that the Japanese created to address the unsuitability of the Chinese characters to express highly-inflected Japanese, is based on the simplification of selected <i>kanji</i>. The transfer of language, science and culture from China to a long-isolated Japan continued for hundreds of years. As a result of this prolonged influence from the Middle Kingdom, Japanese came to contain thousands of words of Chinese origin. Much like the vestiges of Latin and Greek that exist as prefixes and suffixes in English, these words (called <i>kango</i>) predominate in the early sciences and medicine because the transfer of knowledge in these fields coincided with the transfer of their lexicon . Centuries later but in the same fashion, the period of rapid Westernization known as the Meiji Restoration was characterized by the enthusiastic importation of European language. The flood of words borrowed from the West at that time was encouraged by the newly-formed Meiji government as a means of accelerating the internationalization process, and received little popular opposition. Even putting aside the considerable borrowings from China and the West there still remains <i>gairaigo</i> imported from Korean, Sanskrit, </p>
<p>and the language of the aboriginal Ainu.</p>
<p><p>Considering Japan&#8217;s history of linguistic borrowing, it stands to reason that little impetus would exist among most observers, Japanese and otherwise, to criticize or oppose the modern growth of <i>gairaigo</i>, disregarding it as only the most recent and conspicuous phase in the natural evolution of the language. Ignoring the trend on the basis of this logic, however, may not necessarily be in our best interests. Nor should we assume that we are somehow relegated to passive observation, for since the changes I will discuss are taking place <i>today</i> rather than in some remote historical niche we are afforded the opportunity to evaluate, criticize, and </p>
<p>even influence the way in which the Japanese language evolves, or does </p>
<p>not.</p>
<p><p><b> Some Problems with Gairaigo</b></p>
<p><p>Gairaigo is, by definition, &quot;language from outside,&quot;   and </p>
<p>distinguished in the written language by the use of katakana. Like hiragana, katakana is a phonetic syllabary capable of expressing every phoneme in Japanese. Where hiragana characters are cursive and flowing, katakana are sharp and angular. This appearance lends them an aesthetic quality that many Japanese, especially the younger generations, find appealing. Words written with katakana are imbued with a visual quality that is at once modern, foreign, hip and </p>
<p>cutting-edge.</p>
<p><p>According to research conducted a decade or so ago, over 10 percent of Japanese is gairaigo, and the numbers are growing. New words are created all the time, the vast majority of them culled from </p>
<p>English. Certainly the mass media are in part responsible for propagating gairaigo, but especially influential is Japan&#8217;s monolithic advertising industry which, in its zeal to entice consumers, employs English or English-based constructions&#8211;often with little regard for English grammar or context&#8211;in eye-catching slogans that enjoy vast popular exposure, plastered as they are on TV screens, billboards and </p>
<p>subway car interiors like societal wallpaper.</p>
<p><p>The creation and dissemination of <i>gairaigo</i> leads to a number of problems for speakers of Japanese, native and otherwise. Were it always simply window dressing or advertising copy there might be little reason for concern. However, language is by nature a </p>
<p>communication medium, and this is where the fundamental problems with gairaigo lie.</p>
<p> </p>
<ul>
<p>
<li><i> Gairaigo is without intrinsic </p>
<p>    meaning </i> </ul>
</p>
<p><p>Importing a word from another language into Japanese <i>katakanafication</i>, for lack of a better term) is a simple </p>
<p>process. One need not even know the <i>meaning </i>of the word that is being imported, merely the sounds. The phonemes (units of sound) of the original word are modified, slightly or a great deal, to correspond to the closest equivalents found in Japanese. As Japanese is a language with fewer distinct sounds than English, for example, this usually results in a word that resembles the original only somewhat or not at all.</p>
<p><p>It is important to note that the purpose of this process, though, is not to strictly adhere to the original English, but rather to create a word that can be vocalized using Japanese sounds and represented in written Japanese. For example, If the imported word comes from English, the Roman characters are discarded and replaced with <i>katakana </i>that represent the sound of the word in Japanese syllables. So, using this system to convert, say, &quot;multimedia&quot; into <i>gairaigo</i> results in  マルチメデｲア  , or <i>maruchimedeia</i> (mah-roo-chee-mee-deh-i-uh).</p>
<p><p>One obvious problem with this example is that the meaning intrinsic to the English word <i>multimedia</i>, namely <i>multi </i>(from the Latin <i>multus</i>, meaning much or many) and <i>media </p>
<p></i>(plural of <i>media</i>), has been completely eliminated in the conversion process. Where once the composition of the word provided a measure of insight into its meaning, all that remains for the Japanese reader is a random collection of sounds. Unfortunately this loss of meaning is a regular byproduct of katakanafication, and thereby interferes with the transmission of meaning between languages in the importation process.</p>
<p> </p>
<ul>
<p>
<li><i> Gairaigo often displaces standard </p>
<p>    Japanese </i> </ul>
</p>
<p><p>It is much easier to remember and reproduce katakana than kanji, which can be extremely complicated and number in the thousands. Accordingly, many speakers and writers of Japanese develop a predisposition for using foreign words in place of established yet more difficult Japanese terms. Younger generations especially, with many more hours </p>
<p>in English classrooms or in front of the television, are more likely to possess a lopsided, gairaigo-rich vocabulary and greater difficulty reproducing and reading uncommon kanji. Because of this trend many gairaigo words are replacing standard Japanese, and in general terms this amounts to a shift away from kanji to the less expressive katakana. This is a problem for the same reason cited in the previous example: loss of intrinsic meaning. Just as prefixes and suffixes </p>
<p>allow English speakers to surmise the meaning of many English words, Japanese has the corresponding benefit of <i>kanji</i>.</p>
<p><p>Most kanji impart meaning to the reader either ideographically or pictographically, and are thus an excellent medium for conveying new concepts. It is for this reason that a Japanese (or Chinese, or </p>
<p>Korean) reader can make an educated guess about the meaning of a word rendered in kanji without having ever seen it before, provider he is familiar with the characters that comprise it. <i>Katakana</i>, by contrast, simply represent (foreign) sounds, and so initial comprehension of gairaigo requires an appended explanation, a dictionary, or sufficient familiarity with the source language. </p>
<p><p>In both scenarios, when English is imported as gairaigo or when gairaigo displaces existing Japanese, a loss of the intrinsic meaning occurs that reduces much of the words&#8217; usefulness as tools for </p>
<p>communication.</p>
<p> </p>
<ul>
<p>
<li><i> Gairaigo is an obstacle to </p>
<p>    language learning  </i></ul>
</p>
<p><p>Gairaigo undermines and impedes the difficult process of language learning for both Japanese students and foreigners studying Japanese. For Japanese students, English is compulsory from middle through high school, a total of six years. The spoken English taught in the </p>
<p>classroom (usually by Japanese instructors) has been subjected to </p>
<p>katakanafication for the benefit of Japanese speakers, and thereby stripped of many of the very sounds necessary for aural comprehension by native speakers. As ESL Professor Joseph Sheperd writes in The Internet TESL Journal,&quot;Stressing every syllable and adding a vowel at the end of the word, [Japanese students of English] often </p>
<p>sound as if they are reading Katakana placed alongside of the words.&quot;</p>
<p><p>Add to that the problem of misinterpreting the huge number of English words already in use as gairaigo and it is no mystery why so many Japanese share a common dilemma: the inability to communicate orally </p>
<p>in English. The scope of this problem might best be measured by the flourishing presence of <i>eikaiwa</i> (English conversation) schools, a booming industry in Japan which markets courses that teach students how to correctly <i>pronounce</i> the English they have been studying for all these years.</p>
<p><p>Gairaigo can be a pitfall for the foreign student of Japanese as well. Native English speakers are probably confronted with the greatest number of loanwords from their own language, and tend to lean </p>
<p>toward the original pronunciation and interpretation of these words rather than that used by Japanese. Equally vexing is the fact that although a word may have numerous meanings distinguished by context in English, often only one is used in Japanese. Additionally, since grammar is often ignored in the importation process it is not uncommon for nouns to become verbs, prepositions to become nouns, etc. Taken together, these characteristics contribute significantly to </p>
<p>the difficulty of learning Japanese.</p>
<p> </p>
<ul>
<p>
<li><i> Gairaigo is renegade </i> </ul>
</p>
<p><p>The growth of gairaigo is out of control, and the creation of new words goes completely unchecked and unregulated. Many of the words used today by youth and pop authors are unknown to well-educated, </p>
<p>older Japanese. Aside from guidelines for converting foreign sounds to those found in Japanese, there are no rules that limit or regulate the creation of new gairaigo.</p>
<p><p>This is indeed a problem for the reasons outlined above and others, but more important is the scale of change taking place today. Certainly, the process of importing and assimilating foreign words </p>
<p>and language is the natural result of inter-cultural communication and not worrisome in and of itself. However, the rate of change and the sheer number of new words arriving from abroad today has reached crisis proportions, and has only been made possible through the technological advances of recent decades. </p>
<p> </p>
<p><p><b> Gairaigo and the Information Age<br /></b></p>
<p><p>The global diffusion of communications technology in the latter half of this century has ushered in an Information Age, where digitized data, culture, and language streak continuously across obsolete </p>
<p>borders via satellite broadcast or the ubiquitous Internet, and instantaneous communication through a variety of media is simply taken for granted. </p>
<p><p>The Internet is especially relevant in any discussion of Japan, a country which has experienced 84% growth in the number of Internet hosts since January of this year (Source: Network Wizards InterNIC </p>
<p>survey, July 1996). Japan is the fastest growing large-scale Internet market in the world, and at the current growth rate will surpass both the United Kingdom and Germany to occupy the number two position after the United States in only two years. To be sure, Japan is getting connected. But what does this portend for the Japanese language?</p>
<p><p>The Net was born in America, as was much of most recent and most significant computing technology. Although once upon a time the language of science and technology in Japan was based on Chinese, the </p>
<p>vocabulary of the Digital Age, spawned in the computer rooms of Bell </p>
<p>Laboratories and UC Berkeley, is overwhelmingly English. Virtually any Japanese computer magazine today (and there are many) is filled with technical jargon that has been imported part and parcel from English. Detailed discussions of video interlacing techniques or parallel processing are rife with specialized English terms and acronyms whose meaning would be lost on most native English speakers, yet are present nonetheless in katakana form.</p>
<p><p>The use of katakana and this method of dealing with gairaigo reveal a growing trend for choosing transliteration over translation in the fields of engineering and computer technology. The practice, </p>
<p>however, is a modern contrivance that seems curious when you consider similar technological advances earlier this century and the way in which their jargon was adapted to Japanese.</p>
<p><p>Take, for example, RF electronics. When the technology fundamental to modern cellular telephony, RADAR, and radio was first developed early in this century, new vocabulary were created for concepts such as electromagnetic waves, signal modulation, RF propagation, etc. At that time the translation of RF terminology into Japanese was done mostly conceptually, using existing words or characters to render the new terms. The use of kanji facilitated this process by conveying the <i>ideas</i> associated with the words rather than the sounds. This method allowed Japanese, or anyone with a knowledge of kanji, to understand to a certain degree the meaning of the new terms without </p>
<p>having been exposed to them previously. Consider the examples of fundamental RF terminology as they exist in English and Japanese in the left-hand portion of Table 1:</p>
<p> </p>
<p><p> Table 1. Translation Past and Present </p>
<table border>
<tbody>
<tr>
<td colSpan="2" width="284">
<p>            <b> RF </p>
<p>            Terminology </b></td>
</p>
<td colSpan="2" width="284">
<p>            <b> Computer </p>
<p>            Terminology </b></td>
</tr>
<tr>
<p>
<td width="142"> frequency  </td>
</p>
<td width="142">
<p>            周波数 </td>
</p>
<p>
<td width="142"> network  </td>
</p>
<td width="142">
<p>            ナットワーク </td>
</tr>
<tr>
<p>
<td width="142"> wavelength  </td>
</p>
<td width="142">
<p>            波長 </td>
</p>
<p>
<td width="142"> peer-to-peer  </p>
</td>
<td width="142">
<p>            ピアツーピア </td>
</tr>
<tr>
<p>
<td width="142">amplification  </td>
</p>
<td width="142">
<p>            増幅 </td>
</p>
<p>
<td width="142"> multimedia  </td>
</p>
<td width="142">
<p>            マルチメデｲア </td>
</tr>
<tr>
<p>
<td width="142"> bipolar  </td>
</p>
<td width="142">
<p>            正反対 </td>
</p>
<p>
<td width="142">microprocessor  </td>
</p>
<td width="142">
<p>            マイクロプロセッサ </td>
</tr>
<tr>
<p>
<td width="142"> wireless  </td>
</p>
<td width="142">
<p>            無線 </td>
</p>
<p>
<td width="142"> modem  </td>
</p>
<td width="142">
<p>            モデム </td>
</tr>
<tr>
<p>
<td width="142"> reception  </td>
</p>
<td width="142">
<p>            受信 </td>
</p>
<p>
<td width="142"> throughput  </td>
</p>
<td width="142">
<p>            スループット </td>
</tr>
<tr>
<p>
<td width="142"> transmission  </p>
</td>
<td width="142">
<p>            転送 </td>
</p>
<p>
<td width="142"> memory  </td>
</p>
<td width="142">
<p>            メモリ </td>
</tr>
<tr>
<p>
<td width="142"> phase  </td>
</p>
<td width="142">
<p>            移送 </td>
</p>
<p>
<td width="142"> fixed disk  </td>
</p>
<td width="142">
<p>            ハードヂスク </td>
</tr>
<tr>
<p>
<td width="142"> FM  </td>
</p>
<td width="142">
<p>            周波変調 </td>
</p>
<p>
<td width="142">protocol </td>
</p>
<td width="142">
<p>            プロトコル </td>
</tr>
</tbody>
</table>
<p><p>Electromagnetic energy is described in terms of &quot;waves&quot; because as it travels through space is exhibits many properties associated with liquid waves including oscillation, peaks and troughs, repetition frequency, and wavelength to name a few. Just as in English, the wave concept for RF energy exists in Japanese terminology in the form of the character 波 (<i>nami</i>, or wave). </p>
<p>Fundamental as it is to our perception of electromagnetic energy, it naturally appears often in the list of examples above.</p>
<p><p>Next, if we turn our attention to the right-hand portion of Table 1 and study some the words that are being created to express basic concepts related to computing and networking, it is clear that no </p>
<p>effort has been made to translate the English words into corresponding Japanese. Instead, merely the sounds of the original English have been imported. Although Japanese characters could have been employed to translate the <i>concepts</i> above, thereby making comprehension of the words far simpler for literate Japanese, but transliteration was chosen instead.</p>
<p><p>The obvious problem with this pattern is that the Japanese public, confronted with the current flood of new technological ideas and terminology, are being forced to absorb them in what is essentially a </p>
<p>foreign language. In the excited dash towards globalization and the economic potential it holds for a resource-weak Japan, the Japanese will be making the trip on linguistic crutches. Whose idea was this, anyway?</p>
<p><p><b> Agents of Change<br /> </b></p>
<p><p>The long-awaited ascension of the personal computer in Japan has begun, and what for so long has been exclusively a tool of </p>
<p>the workplace is becoming increasingly common in living rooms from Sapporo to Kumamoto. It has finally become a <i>toy</i>, a surfboard, and a desk reference. In short, the computer has become, well, <i>personal</i>. PC fever rages in Japan and the Internet is red hot. The computer industry here and abroad is frantically striving to meet the demands of the burgeoning Japanese PC market, and competition among vendors and manufacturers is fierce.</p>
<p><p>Microsoft has entered the fray with typical determination and adroitness, and through a combination of shrewd partnerships and savvy marketing has slowly but effectively wrested the Japanese software market from the grip of industry leaders such as Just Systems and NEC. </p>
<p>Windows 3.1 and 95 are now the industry standard operating systems for </p>
<p>Intel-based PC&#8217;s, and Microsoft&#8217;s flagship applications in the three categories that count&#8211;word processors, databases, and spreadsheets&#8211; have secured the number one slot in each. Microsoft Office commands an impressive 51% of the office suite market as of May 1996 (Source: <i>Business Computer News</i>, Computer News, Inc.). None of this </p>
<p>phenomenal success in the foreign Japanese market, however, would have been possible without <i>localization</i>.</p>
<p><p>Localization, according to Ken Lunde&#8217;s <i>Understanding Japanese Information Processing</i>, is &quot;the process of adapting </p>
<p>software (or hardware) such that it conforms to the expectations of a specific country. This often includes rewriting menus and dialogs into the target language, but sometimes involves more complex changes, such as handling special character encoding methods.&quot; Mr. Lunde also employs the term <i>Japanization</i> in the same book to refer to the localization of software for the Japanese market. However, <i>japanization </i>and my own coinage <i>katakanafication </i>are not interchangeable terms. Here is why.</p>
<p><p>Windows95 and the new 32-bit versions of MS applications clearly reflect the current trend of exploiting katakana to merely transliterate, not translate, from English to Japanese in the course of program localization. The programs are rife with examples of words that aren&#8217;t English but rather Microsoft copyrighted coinages that have been converted to Japanese through katakanafication. Not surprisingly, the resulting ambiguities often lead to frustration on the part of the mystified Japanese user. In a recent issue of the Japanese computer magazine <i>Interface</i>, Osaka University Professor Satoshi Kawata recounts his frustration at trying to use the  &quot;Japanese&quot; version of MS Excel. &quot;It&#8217;s so difficult to use I can hardly stand it, &quot; he laments. Commands like &quot;Add-in Manager&quot; and &quot;Pivot Table&quot; that have simply been rendered in katakana are, according to Professor Kawata, &quot;hard to read and difficult to understand.&quot;</p>
<p><p>And it&#8217;s not just Microsoft. If anything, some of the other software giants, Novell Inc. and Lotus Corp. among them, are just as guilty of this disservice to the Japanese consumer. User manuals for the Japanese version of cc:Mail, for example, are notoriously difficult to read, filled as they are with mysterious constructions like ピアツーピア  (Peer-to-Peer) and スタンドアロン  (Stand </p>
<p>Alone). Are we to assume that the localization team for this project was incapable of producing corresponding Japanese terms from the canonical expanse of the language? Is &quot;stand alone&quot; such an arcane, inscrutable concept that these translation professionals </p>
<p>eventually threw up their hands in defeat and settled on katakana?</p>
<p><p>This practice would not present a significant problem were it not for the fact that these products, notably those coming out of Redmond, Washington, will almost certainly come to dominate the Japanese software market. The natural consequence of this is that the </p>
<p>terminology chosen by them and employed in their application software and user manuals will become the industry standard and, eventually, part of Japanese itself through simple mass exposure. The reason for this is that application software is the birthplace of the computer argot. A decade ago in the US the words &quot;cut and paste &quot;   or &quot;double-click&quot; would have fallen on mostly deaf ears, but today they help comprise the foundation of a fast-growing digital idiom. This pattern is inevitable, and gives monolithic corporate entities like Microsoft an unsettling degree of power to influence and define the development of language.</p>
<p><p>Realistically speaking, software manufacturers will always place their own interests first when choosing the verbiage used in their programs. The expectations and background of the user, for example, must be considered in order to produce a product that is easy to use yet powerful, and therefore marketable. In some cases this may mean </p>
<p>standardizing the terminology and placement of often used menu commands (such as &quot;Open File&quot; or &quot;Select All&quot;), but in other cases the motivation may be less altruistic. By defining the lexicon of the user interface at the OS level and then dictating that other software producers conform, industry leader Microsoft has been able to foist its own copyrighted terminology on the industry as a whole. A brief perusal of Windows 95 environment yields a handful of examples: <i>Properties</i>, <i>Shortcut</i>, <i>Toolbar</i>, <i>Wizard</i>. The dictatorial standardization of these terms by </p>
<p>Microsoft is designed to condition the computing masses to be familiar with and comfortable in the Windows environment. Ultimately, this is simply another means for assuring their current and future dominance of the computer industry. In Japan the objective is no different, and the extremely popular &quot;Japanese&quot; version of Windows 95 </p>
<p>comes shipped with all of the important MS terms predictably intact: </p>
<p> プロパテｲ  , </p>
<p> ショートカット  , </p>
<p> ツールバー  , </p>
<p> ウｲザード  , among </p>
<p>others.</p>
<p><p>Unfortunately, however, the interests of the computer industry obviously have very little to do with considering the long-term impact on language or the evolution of translation methodologies. By </p>
<p>endorsing transliteration as a viable alternative to translation in their localization efforts, the products of which will enjoy singular prominence on desktops in homes and offices throughout Japan, these titans are burdening Japanese consumers with unnecessary ambiguity and corrupting the language, all the while telling translators and anyone else paying attention that it&#8217;s okay to do so.</p>
<p><p>What is perhaps most perplexing about the current flood of gairaigo and the computing sector&#8217;s active role in it is the apparent lack of criticism of the matter. One among the few voices of concern in </p>
<p>the Japanese media is that of Professor Kawata. In his <i>Interface </i>article, he advocates the use of a system called <b>Ruby </b>to address the various problems associated with the use of gairaigo in Japanese. The system basically involves using katakana in superscript form above foreign terminology (much like <i>furigana</i>), be it a computer term or a Chinese person&#8217;s name, in order to both </p>
<p>preserve the components of the original word(s) and provide the correct pronunciation in Japanese. The idea is a good one, and certainly addresses some important issues, but I would argue that we need to go further.</p>
<p><p>Attempting to reduce the number of copyrighted terms and coinages in software programs would be futile because these terms often distinguish the various vendors from one another and are thus </p>
<p>essential for market competitiveness. In other words, quibbling over the transliteration of a Microsoft-ism like <i>Wizard </i>into the Japanese version of Word&copy; would be a waste of time. The area that more deserves our attention is general terminology that isn&#8217;t trademarked and exists abundantly in the industry vernacular. These are words that seem to have mystified the translation community and as such are in copious use as simple gairaigo. These are words like digital, hypertext, browser, client-server, macro, peer-to-peer, display, PIM, OCR, chip, refresh rate, memory, controller, and about a zillion others. Omitting laziness, incompetence, or a particular love for katakana there is no good reason why these terms cannot be rendered in authentic Japanese.</p>
<p><p>It is possible, of course, that the problem is simply a lack of consensus. Since no governing body exists for handling the creation of new words, a lack of direction or guidelines in the area of localization is hardly surprising. For many in the translation field, </p>
<p>for example, the use of katakana as a kind of interim translation may be less intimidating that actually coining a new word and offering it for public scrutiny and evaluation. With this in mind and in hope of contributing to positive change, I offer the following as rough guidelines for those who work in the areas of localization and translation:</p>
<p></p>
<ul>
<li>
<p>The serious work of creating language should not be taken lightly, and the decision whether to translate or transliterate is an important one whose consequences should be considered well. In terms of ease of comprehension, which is better for introduction to native Japanese speakers, an unknown (katakana) gairaigo term, or an unknown Japanese word rendered in kanji or hiragana?</p>
</ul>
<p><ul>
<p>
<li> Since countries such as China and </p>
<p>    Taiwan use Chinese characters as well and do not have the convenience of a </p>
<p>    phonetic script for handling foreign terms, an occasional look at Chinese </p>
<p>    translations could prove instructive.</p>
</ul>
<p><ul>
<p>
<li> Translators working on the bleeding edge of technology, the source of most of the latest terminology, should be willing to consult<i> </i>with those who specialize in language itself when </p>
<p> considering new terms. Linguists and educators are well-placed to contribute positively in the translation process, and their input should be considered invaluable.  </ul>
</p>
<p><ul>
<p>
<li> Consensus among all of the parties involved&#8211;engineers, translators, journalists, and linguists alike&#8211;is the best means at our disposal for ensuring that the changes we make to Japanese    today will be in the best interests of the speakers and users of Japanese. </p>
</ul>
<p><p>In conclusion, let me say that what motivates me in this area is nothing less than a love for Japanese and the profound dismay I feel seeing it casually discarded more and more often in favor of gairaigo. Japanese is an amazingly rich language with great expressive power, </p>
<p>and there is no good reason why it should be supplanted by English in the 21<sup>st</sup> century.</p>
<p><p>It is my hope that the people more in a position to make a difference will share my concerns and help restore translation as the standard. Should they choose to do otherwise, to leave the fate of Japanese to Bill Gates or the staff writers of computer magazines, to sit idly by as the myriad problems related to gairaigo multiply, and to wring </p>
<p>their hands in dismay when the dictionary fails to produce a corresponding term, they will ultimately count themselves as accomplices in the dumbing-down of Japanese and all of Japan.</p>
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		<title>Yoshida Kenkou and the Tsurezuregusa</title>
		<link>http://www.denbushi.net/1996/04/21/yoshida-kenkou-and-the-tsurezuregusa/</link>
		<comments>http://www.denbushi.net/1996/04/21/yoshida-kenkou-and-the-tsurezuregusa/#comments</comments>
		<pubDate>Sat, 20 Apr 1996 18:10:13 +0000</pubDate>
		<dc:creator>michael</dc:creator>
				<category><![CDATA[Essays]]></category>

		<guid isPermaLink="false">http://207.5.41.52/WordPress/?p=6</guid>
		<description><![CDATA[Yoshida Kaneyoshi was born sometime around the year 1283 into a family of hereditary Shinto diviners. His considerable facility with poetry led to an early position in the Kamakura court, where he served as a steward to Horikawa Tomomori. Later, around 1313 and for reasons unknown, he opted for the life of a Buddhist monk [...]]]></description>
			<content:encoded><![CDATA[<p><strong>Yoshida Kaneyoshi</strong></p>
<p>was born sometime around the year 1283 into a family of hereditary</p>
<p>Shinto diviners.  His considerable facility with poetry led to</p>
<p>an early position in the Kamakura court, where he served as a</p>
<p>steward to Horikawa Tomomori.  Later, around 1313 and for reasons</p>
<p>unknown, he opted for the life of a Buddhist monk and changed</p>
<p>his name to the more religious-sounding Kenkou.  An active poet,</p>
<p>he belonged to the traditional and conservative <em>Nijou</em> school</p>
<p>of poetry, and was later praised as one of the &#8220;four</p>
<p>deva kings&#8221; of the <em>Nijou</em></p>
<p>school.  It is not, however, his poetry for which he is best well</p>
<p>known, but rather a collection of essays known as the <em>Tsurezuregusa</em>,</p>
<p>or <em>Essays in Idleness</em>.</p>
<p><em> Tsurezuregusa</em></p>
<p>is a collection of <em>zuihitsu</em>, or &#8220;random</p>
<p>jottings,&#8221; and is considered</p>
<p>along with Sei Shonagon&#8217;s</p>
<p><em>Pillow Book</em> to be one of the earliest examples of this</p>
<p>uniquely Japanese literary genre.  The essays themselves, numbering</p>
<p>243 in all, vary considerably in length from a single sentence</p>
<p>in some cases to a handful of pages in others. They cover a broad</p>
<p>range of topics, and include anecdotes, observations, and reflections</p>
<p>on nature, humankind, and the path to enlightenment.  His comments</p>
<p>on etiquette and style have especially endured, and he is credited</p>
<p>today with defining or elucidating much of what is considered</p>
<p>&#8220;Japanese.&#8221;</p>
<p>Most importantly, the work not  only provides the reader with</p>
<p>a glimpse of life in medieval Japan, but also into the mind of</p>
<p>the author himself.</p>
<p>The work reveals a sensitive and</p>
<p>refined man who, though bound on the one hand by his status as</p>
<p>a Buddhist monk to lead the solitary life of a recluse, finds</p>
<p>it difficult to truly separate himself from the court and his</p>
<p>contemporaries, for which his interest is keen.  Instead of leaving</p>
<p>the capital and all of its worldly trappings behind to live high</p>
<p>in some mountain retreat, he chose instead to reside on the fringes</p>
<p>of Heian-kyou, where much of society and his previous existence</p>
<p>was readily accessible to him.  Kenkou delights in relating amusing</p>
<p>stories about court figures and their antics.  In many cases,</p>
<p>though, perhaps to imply that there was in fact some distance</p>
<p>between himself and the actual participants or events he details,</p>
<p>he qualifies the anecdotes with a trailing &#8220;I</p>
<p>am told&#8221; or &#8220;&#8230;it</p>
<p>is said&#8221;.  It is clear,</p>
<p>however, that he was in fact very active in some court circles,</p>
<p>especially those related to poetry, and that much of the information</p>
<p>he imparts could have been obtained first hand.</p>
<p>Similarly, he demonstrates an interest</p>
<p>in the endurance of court protocol and custom, and numerous essays</p>
<p>are offered almost as reminders of how something or other had</p>
<p>been traditionally done, and therefore <em>should</em> be done.</p>
<p>These pieces are sometimes accompanied by laments that the people</p>
<p>of his day no longer remembered the proper method or precedent</p>
<p>when dealing with particular situations.  He wrote:</p>
<blockquote><p><font size="-1">Nobody is left who knows the proper</font></p>
<p><font size="-1">manner of hanging a quiver before the house of a man in disgrace</font></p>
<p><font size="-1">with His Majesty.  Formerly, it was the custom to hang a quiver</font></p>
<p><font size="-1">at the Tenjin Shrine on Gojou when the emperor was ill or when</font></p>
<p><font size="-1">a general epidemic was rampant.</font></p>
<p><font size="-1" /></p>
</blockquote>
<p>Kenkou existed in a world of great</p>
<p>political flux, and the nostalgia that he feels for earlier, perhaps</p>
<p>more stable times often through.  He seems particularly vexed</p>
<p>by the evolution of conventional speech away from forms he considered</p>
<p>traditionally appropriate.  This was especially true in cases</p>
<p>where ritual speech had been corrupted into truncated, less formal</p>
<p>forms. An active poet since his youth and a member of the conservative</p>
<p><em>Nijou</em> school, it should come as no surprise that innovation</p>
<p>and novelty held little appeal for him.</p>
<p>His knowledge of court customs was</p>
<p>thorough, and numerous essays are simply informative commentaries</p>
<p>on specific court practices of the time.  Examples of this type</p>
<p>include detailed descriptions of the orientation of bed and pillow</p>
<p>in the emperor&#8217;s bedchamber,</p>
<p>the manner in which cords should be attached to loops on boxes,</p>
<p>and the means by which a person should be restrained prior to</p>
<p>being flogged.  One has to wonder what purpose these were intended</p>
<p>to serve, if other than only to illustrate these practices for</p>
<p>the benefit of subsequent generations.  If nothing else, they</p>
<p>represent Kenkou&#8217;s fascination</p>
<p>with such matters and perhaps reflect his belief that the world</p>
<p>was in a state of decay (<em>mappou</em>).  As this degeneration</p>
<p>seemed to him to be characterized by the neglect of ritual and</p>
<p>tradition, it is possible to conclude that his transcription of</p>
<p>the customs of his time and those of previous generations had</p>
<p>an archival objective.</p>
<p>Kenkou&#8217;s</p>
<p>preoccupation with the court and worldly pursuits is quite at</p>
<p>odds with his status as a monk and recluse, and he seems unwilling</p>
<p>to fully embrace the ascetic lifestyle as, for example, <em>Kamo</em></p>
<p><em>no Choumei</em> did decades earlier when he became a priest.  One</p>
<p>wonders why he took the tonsure in the first place if the hermitage</p>
<p>was not a way of life he personally favored.  Even in his essays</p>
<p>about other monks he speaks of them more as an outsider than a</p>
<p>kinsman, and only a handful of his essays can be described as</p>
<p>expressing singularly Buddhist principles.  The answer may be</p>
<p>found in some of the pieces, though, where he indicates that the</p>
<p>transition from public life to one of solitary contemplation of</p>
<p>The Way is incumbent upon men in their twilight years, and that</p>
<p>it is unseemly for the aged to mingle with the young, or priests</p>
<p>with society.  Kenkou&#8217;s daily</p>
<p>rounds, conversely, brought him often into contact with other</p>
<p>people and the noteworthy events of their lives.  This kind of</p>
<p>contradiction is not at all uncommon in the work, and some scholars</p>
<p>contend that the format itself, short essays written over an indeterminate</p>
<p>period of time, lends itself to such inconsistency.  I am inclined</p>
<p>to agree with that assumption simply because doing otherwise requires</p>
<p>one to ignore the fact that our opinions evolve with time and</p>
<p>are wholly relative to the situation at hand.  Still, reading</p>
<p>in the same hour two passages that begin &#8220;Nobody</p>
<p>begrudges wasting a little time&#8221;</p>
<p>and &#8220;A man who wastes</p>
<p>his time doing useless things is either a fool or a knave&#8221;</p>
<p>may give one pause for thought about the capriciousness of his</p>
<p>ideology.</p>
<p>In addition to his observations</p>
<p>of the court and customs, much of Kenkou&#8217;s</p>
<p>work could be said to serve as a guide to gentlemanly behavior.</p>
<p>The collection is punctuated with essays that describe in varying</p>
<p>degrees of detail how a man was expected to act under certain</p>
<p>circumstances or in general, and many attempt to define in no</p>
<p>uncertain terms the kinds of ambitions that were meritorious.</p>
<p>He seems especially critical of those who pursued monetary gain:</p>
<blockquote><p><font size="-1">What a foolish thing it is to be</font></p>
<p><font size="-1">governed by a desire for fame and profit and to fret away one&#8217;s</font></p>
<p><font size="-1">whole life without a moment of peace.  Great wealth is no guarantee</font></p>
<p><font size="-1">of security.  Wealth, in fact, tends to attract calamities and</font></p>
<p><font size="-1">disaster&#8230;It is an exceedingly stupid man who will torment himself</font></p>
<p><font size="-1">for the sake of worldly gain.<br />
</font></p>
<p><font size="-1" /></p>
</blockquote>
<p>Equally denigrated are the uneducated</p>
<p>and boorish, whose antics provide Kenkou with ample examples of</p>
<p>what the &#8220;well-bred&#8221;</p>
<p>man should never do.  He paints a picture of the ideal man as</p>
<p>being quiet, self-effacing, generally sober, and, most of all,</p>
<p>a person of refined tastes.  Though less harsh in his treatment</p>
<p>of common people than was <em>Sei Shonagon</em> in her <em>Pillow</em></p>
<p><em>Book</em>, Kenkou does not afford them much in the way of leniency.</p>
<p>They seem as caricatures, propped up idiotically in front of</p>
<p>the reader to serve as an antithesis to Kenkou&#8217;s</p>
<p>idealized, elevated man:</p>
<blockquote><p><font size="-1">The man of breeding never appears</font></p>
<p><font size="-1">to abandon himself completely to his pleasures; even his manner</font></p>
<p><font size="-1">of enjoyment is detached.  It is the rustic boors who take all</font></p>
<p><font size="-1">their pleasures grossly.  They squirm their way through the crowd</font></p>
<p><font size="-1">to get under the trees; they stare at the blossoms with eyes for</font></p>
<p><font size="-1">nothing else.  they drink sake and compose linked verse; and finally</font></p>
<p><font size="-1">they heartlessly break off great branches and cart them away.</font></p>
<p><font size="-1"> When they see a spring they dip their hands and feet to cool</font></p>
<p><font size="-1">them; if it is the snow, they jump down to leave their footprints.</font></p>
<p><font size="-1"> No matter what the sight, they are never content merely with</font></p>
<p><font size="-1">looking at it.</font></p>
<p><font size="-1" /></p>
</blockquote>
<p>I think these entries may ultimately</p>
<p>add to the popularity of the work because they serve as a kind</p>
<p>of handbook for proper behavior and etiquette, which it may be</p>
<p>argued are given a great deal of importance in Japanese society</p>
<p>relative to others.  The Japanese reader is presented with very</p>
<p>clearly articulated ideas about what it is to be properly Japanese.</p>
<p>In some cases Kenkou eschews metaphor or example completely and</p>
<p>simple describes what is appropriate when, for example, calling</p>
<p>on someone at their home: &#8220;It</p>
<p>is most agreeable when a visitor comes without business, talks</p>
<p>pleasantly for a while, then leaves.&#8221;</p>
<p>In the same direct fashion he cautions the gentleman in numerous</p>
<p>essays not to indulge in ostentatious displays of knowledge or</p>
<p>ability:</p>
<blockquote><p><font size="-1">A man should avoid displaying deep</font></p>
<p><font size="-1">familiarity with any subject.  Can one imagine a well-bred man</font></p>
<p><font size="-1">talking with the air of a know-it-all, even about a matter with</font></p>
<p><font size="-1">which he is in fact familiar?  The boor who pops up on the scene</font></p>
<p><font size="-1">from somewhere in the hinterland answers questions with an air</font></p>
<p><font size="-1">of utter authority in every field.  As a result, though the man</font></p>
<p><font size="-1">may also possess qualities that compel our admiration, the manner</font></p>
<p><font size="-1">in which he displays his high opinion of himself is contemptible.</font></p>
<p><font size="-1"> It is impressive when a man is always slow to speak, even on</font></p>
<p><font size="-1">subjects he knows thoroughly, and does not speak at all unless</font></p>
<p><font size="-1">questioned.</font></p>
<p><font size="-1" /></p>
</blockquote>
<p>There are numerous entries of this</p>
<p>sort, and they stand out from the rest, I think, because they</p>
<p>are so utterly timeless.  The passage above is just as true today</p>
<p>as it was in his time, and it is this quality that makes the work</p>
<p>endure.  As such, even the contemporary reader can find in the</p>
<p><em>Tsurezuregusa</em> much that can be applied to his or her life</p>
<p>today.  In this area Kenkou&#8217;s</p>
<p>brilliance is clearly displayed, and his place in Japanese history</p>
<p>as a gifted philosopher justified.</p>
<p>More than simply an authority on</p>
<p>matters of etiquette and grace, though, Kenkou is also regarded</p>
<p>as having had much to do with the development of the Japanese</p>
<p>for nature and artistic style.  The importance he attaches to</p>
<p>an awareness of  the impermanent, the incomplete, and the irregular</p>
<p>have shaped the Japanese collective consciousness more than we</p>
<p>may ever know.  The <em>Tsurezuregusa</em> shows us that for him</p>
<p>the suggested was superior to the conspicuous, and beginnings</p>
<p>and endings to the central experience.  The natural world was</p>
<p>his favorite canvas for ruminations of this kind, and the examples</p>
<p>he uses are vividly drawn in images familiar to any Japanese.</p>
<p>It is interesting to note that it is here that Kenkou&#8217;s</p>
<p>Buddhist ideology is best represented.  So much of beauty lay</p>
<p>in its ephemerality, he reminds us, and this perception has as</p>
<p>its roots the Buddhist concept of <em>mujou</em>, or impermanence.</p>
<p>Cherry blossoms are loved for their brevity, for example, and</p>
<p>for how they suggest the finite nature of our own existence and</p>
<p>that of all things.  Surely this way of looking at the natural</p>
<p>world existed in Japan long before Kenkou put his brush to ink,</p>
<p>but his words offer a unique expression of its fundamental ideas.</p>
<p>It is therefore regrettable how few of the pieces in the <em>Tsurezuregusa</em></p>
<p>are devoted to observations of the natural world, but from those</p>
<p>available we do find that he had cultivated the recluse&#8217;s</p>
<p>eye for nature even though he had not put any great distance between</p>
<p>himself and the urban hub of Heian-kyou.</p>
<p>Yoshida Kenkou became a monk and</p>
<p>set his feet upon The Way, but his path was one that never carried</p>
<p>him too far from the society and company of others he loved so</p>
<p>much.  Somehow he was able to fuse the courtier and the recluse</p>
<p>into a single entity that found in that union a keener insight</p>
<p>into the world than either might have achieved alone.  That he</p>
<p>was generous enough to record his thoughts we can be grateful,</p>
<p>and in the pages of his legacy we find a window into his heart,</p>
<p>his mind, and his world.<br />
<a id="more-6"></a><br />
The Tsurezuregusa is a classic of Japanese literature. It is a collection of zuihitsu (lit. random jottings), a genre unique to Japan, and was written in the early part of the 14th century. This paper discusses it and the author, Yoshida Kenkou.</p>
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		<title>The Sensual World of Ihara Saikaku</title>
		<link>http://www.denbushi.net/1996/02/11/the-sensual-world-of-ihara-saikaku/</link>
		<comments>http://www.denbushi.net/1996/02/11/the-sensual-world-of-ihara-saikaku/#comments</comments>
		<pubDate>Sat, 10 Feb 1996 18:06:20 +0000</pubDate>
		<dc:creator>michael</dc:creator>
				<category><![CDATA[Essays]]></category>

		<guid isPermaLink="false">http://207.5.41.52/WordPress/?p=4</guid>
		<description><![CDATA[Ihara Saikaku (1641-93) was born Hirayama Tougo in Osaka to a prosperous merchant family. Little is known about his early life, but his wife died young and his only daughter shortly thereafter. Rather than enter the priesthood as might have been expected under the circumstances, he began traveling extensively and writing. He was recognized initially [...]]]></description>
			<content:encoded><![CDATA[<p><strong>Ihara Saikaku</strong> (1641-93) was born</p>
<p>Hirayama Tougo in Osaka to a prosperous merchant family.  Little</p>
<p>is known about his early life, but his wife died young and his</p>
<p>only daughter shortly thereafter.  Rather than enter the priesthood</p>
<p>as might have been expected under the circumstances, he began</p>
<p>traveling extensively and writing.  He was recognized initially</p>
<p>for his skill as a <em>haikai </em>poet,</p>
<p>and is credited with being one of the most prolific <em>renga</em></p>
<p>(linked verse) poets of all time.  Late in life, however, he turned</p>
<p>his attention instead to writing novels, and it is for the brilliant</p>
<p>literary works of this period that he is best known today.<br />
The Japan of the late seventeenth-century had existed under the</p>
<p>stern yet unified rule of the Tokugawa shogunate for nearly a</p>
<p>century before the publication of the literary classic <em>The</em></p>
<p><em>Life of an Amorous Man</em>.  The work was the first novel</p>
<p>by then forty-one year-old Saikaku, and in its pages he recounted</p>
<p>the life and exploits of the ridiculously amorous hero Yonosuke</p>
<p>(lit.- man of the world), a rake who devotes most of his life,</p>
<p>from early youth till death, to pursuing and enjoying the intimate</p>
<p>company of women and, some cases, young boys.  The work was an</p>
<p>important one for two fundamental reasons: first, it was the first</p>
<p>literary work to emerge in Japan that treated sex and sensuality</p>
<p>with a candor hardly before seen in Japanese literature.  So influential</p>
<p>was it, in fact, that it produced an entire genre of fiction that</p>
<p>would become characteristic of the period, <em>Ukiyo-zoushi</em>,</p>
<p>or &#8220;tales of the floating world.&#8221;</p>
<p>The term &#8220;floating world&#8221;</p>
<p>was used to describe the environs of the pleasure quarters and</p>
<p>theater districts that were becoming popular at that time.  Moreover,</p>
<p>the typically short passages that make up the work provide the</p>
<p>modern reader with an unobstructed (but decidedly masculine) view</p>
<p>into the brothels and pleasure quarters of feudal Japan.<br />
The pleasure quarters (<em>yuukaku</em>)</p>
<p>were government-sanctioned districts, mostly urban, where men</p>
<p>could purchase the favors of the <em>demimondaine</em>.</p>
<p>In some cases, like that of the expansive <em>Yoshiwara</em></p>
<p>district in Edo, the licensed quarters were active on a rather</p>
<p>grand scale.  The insulated world of <em>Yoshiwara</em></p>
<p>and other districts like it provided the writers of the time with</p>
<p>a world of superficial dazzle and ritualized pleasure populated</p>
<p>with rogues and hypocrites of all descriptions.  &#8220;There</p>
<p>were devious merchants, scheming courtesans, fallen or slumming</p>
<p>samurai, slimy sycophants, lecherous monks, horny nuns, vainglorious</p>
<p>actors, ludicrous fops and fey spendthrifts.&#8221;</p>
<p>[Bornoff, 174]  Saikaku used these figures, often drawn as caricatures,</p>
<p>as inhabitants of his own literary &#8220;floating</p>
<p>world.&#8221;<br />
In his richly drawn portraits of life behind</p>
<p>the scenes in the world of recreational sex, Saikaku never treats</p>
<p>the reader to excessively explicit detail.  One does find, though,</p>
<p>that although prostitution was very much present in current sense</p>
<p>of the word, the male patrons were highly selective of the partners</p>
<p>they chose to spend time with, and that a fulfilling &#8220;evening</p>
<p>of pleasure&#8221; may have included</p>
<p>little more than food, drink, and pleasant conversation.  This</p>
<p>is wholly apart from what we might think of as prostitution today,</p>
<p>where services purchased and anticipated are almost exclusively</p>
<p>within the realm of physical, sexual gratification.  For the characters</p>
<p>in Saikaku&#8217;s world a woman&#8217;s</p>
<p>manner and grace were as important or more so than her physical</p>
<p>attributes, and this reveals her to having been more than simply</p>
<p>a sexual object.<br />
In addition to exploits in the <em>yuukaku,</em></p>
<p>Saikaku wrote on other areas of the sexual spectrum.  One theme</p>
<p>that received particular attention was that of same-sex love,</p>
<p>or more specifically, love between men and boys.  This type of</p>
<p>affection was referred to as <em>nanshoku</em>,</p>
<p>or &#8220;male love,&#8221;</p>
<p>and it contrasted with <em>joshoku</em>, &#8220;female</p>
<p>love.&#8221;  In Saikaku&#8217;s</p>
<p>day homosexual love among men had none of the stigma attached</p>
<p>to it today in Japanese society or that of our own.  In fact,</p>
<p>the contemporary view of the rugged, lethal samurai might find</p>
<p>itself sharply at odds with the reality of the commonplace nature</p>
<p>of male love and its pervasive acceptance in medieval and Tokugawa</p>
<p>Japan.<br />
Saikaku writes about <em>nanshoku</em></p>
<p>at great length in his book <em>Nanshoku Oukagami</em></p>
<p>(The Great Mirror of Male Love).  In it he depicts male love as</p>
<p>it existed around the samurai tradition, as well as in the other</p>
<p>arena in which it was most predominant, the <em>kabuki</em></p>
<p>theater.  The short stories that make up the work are evenly divided</p>
<p>between the two types.</p>
<p><em>Nanshoku</em> existed exclusively</p>
<p>between men and boys, and the age of nineteen was the point at</p>
<p>which a male would assume the role associated with the former.</p>
<p>Prior to that  time he was exclusively a member of the latter,</p>
<p>and known as a <em>wakashu</em>.  The</p>
<p>men who practiced homosexual love were divided into two categories:</p>
<p><em>onna-girai</em> and <em>shoujin-zuki.</em></p>
<p><em> Onna-girai</em> (&#8221;woman-haters&#8221;)</p>
<p>were those men that dallied exclusively with <em>wakashu</em>, and</p>
<p>by contemporary terminology might be called &#8220;gay.&#8221;</p>
<p><em>Shoujin-zuki</em> were those who continued to have sexual relations</p>
<p>with women in addition to their liaisons with boys, and in many</p>
<p>cases even had wives and families.  <em>Nanshoku Oukagami</em> was</p>
<p>made up entirely of the former, however, and some critics argue</p>
<p>that it is for this reason that a discernible misogynistic bias</p>
<p>exists in many of the stories.  Paul Gordon Schalow says:<br />
Because he adopted the onna-girai&#8217;s</p>
<p>extreme stance toward female love rather than the shoujin-zuki&#8217;s</p>
<p>inclusive position, Saikaku was obliged to write disparagingly</p>
<p>of women in the pages of Nanshoku Oukagami.  But Saikaku&#8217;s</p>
<p>misogynistic tone, which many readers of this translation will</p>
<p>find offensive, is directed not so much at women as at the men</p>
<p>who loved them. [Schalow, 4]<br />
The status and perception of women had seen a noticeable decline</p>
<p>Japan in the Middle Ages and into the feudal period.  Tokugawa</p>
<p>society, with its strict class divisions and clearly defined societal</p>
<p>roles, was inhospitable to women to such a degree that the fruits</p>
<p>of their artistic and creative pursuits, having reached their</p>
<p>apogee in the Heian Era, were now being stifled in almost every</p>
<p>quarter.  One glaring example of this practice was the barring</p>
<p>of women from performing on-stage by the <em>bakufu</em></p>
<p>in 1629.  Although initially allowed to perform in the blossoming</p>
<p><em>kabuki</em> theater, the role of women</p>
<p>had slowly shifted from that of performer to prostitute.  This,</p>
<p>it was feared, would turn performance halls into brothels, and</p>
<p>women were summarily excluded from further participation in hopes</p>
<p>of averting the progression.  Curiously, however, those selected</p>
<p>to fill the now-vacant female roles on the <em>kabuki</em></p>
<p>stage (i.e.- young, feminine boys) soon experienced the same evolution</p>
<p>of role, and in like fashion became ready bedmates for enthusiastic</p>
<p>spectators.  It is noteworthy that this form of the theater, called</p>
<p><em>wakashu kabuki</em>, was subsequently</p>
<p>banned as well.<br />
If anything, Saikaku only echoed the kind of biased, subjugative</p>
<p>view of women already well-established in Japan in his time.</p>
<p>One particularly apropos example is his treatment of the main</p>
<p>characters in the two works <em>The Life of</em></p>
<p><em>an Amorous Man</em> and <em>The Life of</em></p>
<p><em>an Amorous Woman</em>.  In the former case the protagonist,</p>
<p>the ever-infatuated Yonosuke, progresses through his entire lifetime</p>
<p>experiencing successes and failures but ultimately achieving great</p>
<p>prosperity after many years spent in the familiar embrace of the</p>
<p>pleasure quarters.  The heroine in <em>Amorous</em></p>
<p><em>Woman</em>, however, enjoys a wonderfully auspicious existence</p>
<p>in her youth, but experiences a steady, inexorable decline which</p>
<p>finds her a gnarled and pathetic wretch at the end.  The same</p>
<p>similarly unpleasant yet inevitable fate seems to await many of</p>
<p>the female characters in Saikaku&#8217;s other works</p>
<p>as well, and the dual underlying messages seem to be that promiscuity</p>
<p>and licentious behavior are the bailiwick of men alone, and that</p>
<p>women are of little worth once their looks and sexual appeal have</p>
<p>waned.<br />
The rake, the Lothario who demonstrates masterful skill in seduction,</p>
<p>holds a certain appeal for Saikaku.  His protagonists are overwhelmingly</p>
<p>attractive, clever men who, much like the famous</p>
<p>poet <em>Ariwara no Narihira</em>, entice the objects of their fancy,</p>
<p>be they young women or <em>wakashu </em>boys, with carefully chosen</p>
<p>words and cultured manner.  The ploy for luring widows regularly</p>
<p>used by Yonosuke&#8217;s elderly confidant</p>
<p>in <em>The Life of an Amorous Man</em> sounds so appealing to the</p>
<p>young dandy that employs it himself at the first opportunity [41].</p>
<p>It is known that Saikaku was an active patron of the pleasure</p>
<p>quarters himself, and one must wonder if his characters were the</p>
<p>product of his own self-image.  Whatever the case, the sensual</p>
<p>world held great interest for him, and he traversed its broad</p>
<p>expanses with a keen eye and vigorous pen.<br />
It is important to note that Saikaku&#8217;s works,</p>
<p>though often quite erotic, were not oblivious to the realm of</p>
<p>the heart, and some of his pieces relate tales of ardent love</p>
<p>by common people, not unlike the works of his contemporary, <em>Chikamatsu</em>.</p>
<p>Saikaku wrote of lovers who experience great depth of emotion</p>
<p>and caring.  These figures are often torn between the love they</p>
<p>feel for one another, and the duty that conspires to keep them</p>
<p>apart.  An example of this type is the first story in <em>Five</em></p>
<p><em>Women Who Loved Love</em> where, much like Chikamatsu&#8217;s</p>
<p><em>The Love Suicides at Sonezaki</em>, the leading figures are</p>
<p>doomed to be separated against their will, deceived, shamed, and</p>
<p>decide eventually to die gloriously together.  Although in Saikaku&#8217;s</p>
<p>work the ending finds the couple as  somewhat apart from the &#8220;models</p>
<p>of true love&#8221; that die together,</p>
<p>the mettle of their devotion is nonetheless tested under dire</p>
<p>circumstances, and is found to ring true.  I think it is these</p>
<p>works which must have led to his great popularity because they,</p>
<p>along with the stories of the <em>bunraku</em> and <em>kabuki</em></p>
<p>stage, gave new voice to the lives and dreams of commoners and</p>
<p>townspeople.<br />
Ihara Saikaku is described as &#8220;one of</p>
<p>the most uninhibited writers who ever published a tale&#8221;</p>
<p>by translator Kengi Hamada.  His unabashed, straight-forward style</p>
<p>of writing may not seem to the modern reader to be especially</p>
<p>sensual or otherwise erotic, but for his time it was a new direction</p>
<p>in literature, and it launched an entire genre.  In his characters</p>
<p>we can find a little of the author himself, his views of women,</p>
<p>and his love for the sensual world.</p>
<p><font size="-1" /></p>
<p><font size="-1"><strong>Works Cited</strong></font></p>
<blockquote>
<blockquote><p><font size="-1"> </font></p>
<p><font size="-1">Saikaku, Ihara.  <u>The Life of an Amorous</u></font></p>
<p><font size="-1"><u>Man</u>.  Trans. Kengi Hamada.  Rutland, VT: Charles E.</font></p>
<p><font size="-1">Tuttle Company, Inc., 1979.</font></p>
<p><font size="-1"> </font></p>
<p><font size="-1">Saikaku, Ihara.  <u>Five Women Who Loved Love</u>.</font></p>
<p><font size="-1"> Trans. Wm, Theodore de Bary.  Rutland, VT: Charles E. Tuttle</font></p>
<p><font size="-1">Company, Inc., 1956.</font></p>
<p><font size="-1"> </font></p>
<p><font size="-1">Saikaku, Ihara.  <u>The Great Mirror of Male</u></font></p>
<p><font size="-1"><u>Love</u>.  Trans. Paul Gordon Schalow.  Stanford, CA: Stanford</font></p>
<p><font size="-1">University Press, 1990.</font></p>
<p><font size="-1"> </font></p>
<p><font size="-1">Bornoff, Nicholas.  <u>Pink Samurai: Love,</u></font></p>
<p><font size="-1"><u>Marriage and Sex in Contemporary Japan</u>.  New York,</font></p>
<p><font size="-1">NY: Pocket Books, 1991.</font></p>
</blockquote>
</blockquote>
<p><font size="-1" /><br />
<a id="more-4"></a><br />
An essay about the life and works of 17th century Japanese author Ihara Saikaku.</p>
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		<title>Love and Marriage in the Heain Court</title>
		<link>http://www.denbushi.net/1995/08/11/love-and-marriage-in-the-heain-court/</link>
		<comments>http://www.denbushi.net/1995/08/11/love-and-marriage-in-the-heain-court/#comments</comments>
		<pubDate>Thu, 10 Aug 1995 18:04:16 +0000</pubDate>
		<dc:creator>michael</dc:creator>
				<category><![CDATA[Essays]]></category>

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		<description><![CDATA[The Heian Court: a shimmering world of princes and princesses, courtesans and courtiers, noble men and women that together comprised the yoki hito, or &#8220;Good People.&#8221; For an age known primarily for its embrace of the arts and other aesthetic pursuits, one might suppose that the predominance of poetry, painting, and song in court life [...]]]></description>
			<content:encoded><![CDATA[<p>The Heian Court: a shimmering world of princes and princesses, courtesans and courtiers, noble men and women that together comprised the yoki hito, or &#8220;Good People.&#8221; For an age known primarily for its embrace of the arts and other aesthetic pursuits, one might suppose that the predominance of poetry, painting, and song in court life might have filled the air with romance. Tearful proclamations of regret at leave-taking after a night spent in a lover&#8217;s arms, and the hastily-composed poems that were sure to follow them paint an image of gallant courtship of ladies by gentlemen, and amour between the sexes not unlike that of Medieval Europe. Under somewhat closer scrutiny, however, does the romantic motif remain intact? Like sukima in the wall of a Heian lady&#8217;s quarters, the extant literary works of the time provide us with a sliver of insight beyond those silken walls, and into the hearts of the Good People.<br />
What, then, were love and marriage to the people that populated the Heian court and the literature of the period? It would seem that the carefully crafted veneer of pomp and ceremony, then so ubiquitous, extended beyond the ritual pursuits of the court and into the bed chambers of the Heian cast of characters.</p>
<p>Men and women of Heian were not generally free to intermingle, and the occasions in which they did share the same space, court ceremonies and other ritual gatherings, for example, afforded them the opportunity to assess one another in various ways. In terms of visual appeal, both sexes are known to have garbed themselves in elaborate flowing robes of a hue appropriate to the season, and were well-coifed above the collar as well. As the numerous layers of clothing effectively served to conceal the female form, it could be argued that physical traits, cascading black hair and well-painted face notwithstanding, were not that which initially prompted a man of the court to open a dialog with a woman. Instead, it was probably a sharp wit and facility with poetry, regularly subject to public exhibition and evaluation, that would spark the interest of a male.</p>
<p>In quite the same fashion, women were attentive to a man&#8217;s ability to demonstrate a knowledge of classic poetry and to construct poems of merit, as well as to the raiment in which they attired themselves. Omitting physique, then, one might assume that intelligence was elevated as the standard by which suitors and the objects of their affection were measured, initially at least.</p>
<p>However, does talent in the field of classical poetry, for example, denote superior intellect, or merely superior education? Far from meritorious, Heian aristocratic society conferred power and prestige based as much on genealogical factors as those of intrinsic skill, and an examination of the benchmarks employed by women when considering a mate might indicate an emphasis on high birth. By the same token, men were required to restrict their formal (i.e.- publicly recognized) relationships to those with women of sufficient class. This concern with status reflects other practices of the time which involved considerable behind-the-scenes maneuvering by elevated persons in the court designed to preserve position and power.</p>
<p>In courtship, it was generally incumbent on the male to initiate communication, and he would usually do so in the form of a poem sent via messenger to the women of his fancy. In it he would attempt to compose lines of elegant verse that would generate interest in him on her part, and thereby yield a response in similar form. Much as the woman had done with his, he would then evaluate her response both in terms of content and handwriting. This exchange could be all that was necessary to clear the way for a late-night visit, or yobai, by the suitor. Although the yobai (lit. &#8220;night-creeping) was thought of as a &#8220;secret&#8221; meeting, the members of the woman&#8217;s household were less than oblivious to the nocturnal rendezvous. What exactly transpired in these situations is never clearly defined in the available literature of the period, but it is generally understood that intercourse was involved.</p>
<p>Here some clarification is called for, I think, because the casual reader of Sei Shonagon&#8217;s Pillow Book might, for example, conclude that Heian women served as little more that ladies-in-waiting of another sort entirely, which is to say that the night found them at the sexual whim of whoever may choose to dally there on his yobai excursions. Despite the widespread promiscuity of the time, though, this was not the case at all. The nighttime meetings conformed to a standard ritual that was very much a part of courtship, and which often resulted in the legal union (i.e.- marriage) of the parties involved.</p>
<p>But what of love? Are we to understand that a poem overheard, a surreptitious glance at a woman&#8217;s face through a partially open door, or a brief liaison under cover of darkness could move one to feelings of love and yearning? Was &#8220;love&#8221; as we think of it today even part of the formula that produced a marriage? Perhaps not. For example, in her Pillow Book, Sei Shonagon seems to place much more importance on matters of grace and form than on the sincerity or depth of a lover&#8217;s emotions. The following excerpt from note 27, Hateful Things, illustrates this clearly:</p>
<p>Indeed, one&#8217;s attachment to a man depends largely on the elegance of his leave-taking. When he jumps out of bed, scurries about the room, tightly fastens his trouser sash, rolls up the sleeves of his Court cloak, over-robe, or hunting costume, stuffs his belongings into the breast of his robe and then briskly secures the outer sash&#8211;one really begins to hate him.</p>
<p>There are numerous such examples in the work that indicate the importance of form over substance. Even in matters of spirituality, the author in one case ties the attractiveness of a priest&#8217;s features to his ability to convey his message to an audience whose attention would presumably wander were he less than comely. Consider, then, that if etiquette, grace and status are what brought couples together, what characterized their union subsequent to wedlock?</p>
<p>Matrimony in Heian-kyo fell into two broad categories. The first was the initial marriage, typically an arranged affair designed to benefit one or both of the parties involved by aligning them with a person of status via his or her familial ties. Based on the fact that neither party was involved in the selection process, and since the bride and groom were generally in their early teens at the time of marriage, one could assume that there was little, if any, emotional component present in the union. Although this may sound to the contemporary reader to be a pitiable fate for a young couple, it merely reflects traditionally held notions that separated one&#8217;s familial responsibilities as spouse and parent from the pursuit of individual needs, such as love and sexual gratification. These needs were fulfilled outside of the realm of arranged marriage and involved unions with consorts, or &#8220;secondary&#8221; wives, who existed in the second marriage category.</p>
<p>Heian society was quite polygamous; it was not unusual for a man of import to have numerous secondary wives in addition to the primary one, and the greater the number of wives a man had only added to his status. In fact, more than simply window dressing for the status-conscious male, secondary wives were implicitly required for a man of consequence, whose duty it was to sire as many children as possible. In Pink Samurai, Nicholass Bornoff writes, &#8220;With a painfully short average life span and a high infant mortality rate, producing a large number of offspring was a practical imperative assuring continuation of the line&#8221; (p. 122).</p>
<p>The primary wife, or kita no kata, enjoyed a status greater than that of subsequent wives, and was entrusted with, among other things, the rearing and education of her daughters so that they would one day be able to marry into good families. Elevated as she was, however, all was not sake and chysanthemums, for she was often required to vie with his secondary wives for the affection and attention of her husband.</p>
<p>Secondary wives as well could have had cause for considerable nuptial grief. Although they would often continue to reside in their parents&#8217; home even after the wedding ceremony, they could also be installed in the residence of the husband, and therefore under the proverbial thumb of the kita no kata, who there reigned supreme. In Ochikubo Monogatari, for example, a cruel kita no kata terrorizes the helpless daughter of her husbands former wife. Ivan Morris writes in The World of the Shinig Prince that, although the move to the house of her husband would clearly legitimize the relationship, it also &#8220;had the disadvantage of exposing [the secondary wife] directly to the hostility and competition of the man&#8217;s principal wife and of other secondary consorts, past and future&#8221; (p. 233).</p>
<p>Moreover, the more wives a man had, the less time he had to devote to each one. This must have been a dismal fate indeed for those women who, because of their status as wives to powerful figures, were unable both to pursue relationships with other men or spend more than a modest amount of time with their spouses. By contemporary standards this would be intolerable, but what about in Heian-kyo? Based on the literature available we find a spectrum of perceptions ranging from acceptance (Murasaki Shikibu) to bitterness (Mother of Michitsuna, the disgruntled wife of Fujiwara no Kaneie). Ultimately, the matter of the necessity of this arrangement was probably understood by all of the parties involved, though this understanding may not have served as solace for many a Heian woman, relegated as she was to merely conjugal visits on those evenings when her spouse came calling.</p>
<p>Not to paint too ghastly a picture of Heian romance, I should note that the period is not without its share of love stories and other works, fictive and otherwise, that reveal great emotional depth in the relations of the people represented therein. Even Genji himself, a Lothario by any standard, is nonetheless a creature of deep feeling who is seen to possess ardor of the most sincere sort. But are these declarations of love, the carefully composed poems and endearments whispered as one &#8220;lies buried under the bedclothes&#8221; (Shonagon, p. 64) truly expressions of affection, or simply part of the role of &#8220;lover,&#8221; contrived and scripted like so much else in the Heian court?</p>
<p>In Heian times as in all others, humans were nonetheless human, and to discount the candor of their emotions would be to call into question our own. It is clear, though, that ritual and ceremony permeated most, if not all, facets of Heian society, including the relations between men and women. To the cynical eye, all might seem to have been an exercize in fraud, wind-up dolls pretending at being in love with sugared words and empty endearments. To this reader, however, there is a beauty that exists in the way their emotions, surely ablaze beneath a perfunctory mien, were regulated and frugally discharged as laconic lines of verse, or tears that fell on long, silk sleeves.</p>
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