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展开全部“the proud do not endure;they are like a dream on a spring night;7$y
the mighty fall at last,they are as dust before the wind.”—heike monogatari**
as they are both classics of japanese literature,many compar**ons h**e been made between genji monogatari and heike monogatari.though they originated in eras that followed one another,the two texts reflect a profound shift in the narrative’s philosophical perception of the world at large,the principles of life,and the individual’s relation to the society.dec**ively influenced by the decay of the heian splendor,heike differs from genji in its overall philosophy—the outlook on life and individuals’relations to others as well as their place within th** world.such a change can be clearly d**cerned when one examines the two great texts’treatment of death—and subsequently that of life.#
genji monogatari,written at the height of the heian era,** an ode to the court and its high culture’s soph**tication,refinement,and aesthetic achievements.it centers around a plethora of richly humanized characters and their intensely emotional journeys through life.heike monogatari,on the other hand,casts its main background against the bloody gempei war that linked the ar**tocratic age to the feudal age’s kamakura shogunate.the glory that was the heian court,so magnificently embodied by murasaki shikibu’s world,had irrevocably passed away and everyone knew it.just as yoritomo’s raw eastern warrior kumagae would overwhelm the flute-carrying rokuhara youth taira no atsumori,heike announced in an age when the apex of power derived its authority mainly through sheer military might rather than pol**hed courtly intrigues.;`_\
as already mentioned,genji monogatari’s focus ** the individual—the path of h** earthly life,h** emotional entanglements,h** triumphs and tribulations.genji’s relationships with and attachments to the women in h** life are explored in l****h detail,while the death of aoi has many attributes of an american soap opera.the parent-child ties,seen in both the cases of the third princess and aoi,** a no less moving one.it’s not surpr**ing,then,that in genji death ** above all an emphatically human affair,complete with lengthy struggles to live and the wet sleeves of the loved ones left behind.thus in genji’s world death ** inextricably linked with life;and indeed by giving death a human touch,it comes to denote the desire to live a full life and the importance of the individual in relation to the people around him/her.3e f
murasaki shikibu very often portrays death as a drawn-out and painful process,filled with angu**h of the relatives and the struggles of the afflicted to go on living.the inevitability of mortality of all people ** acknowledged,but th** does not lessen the he**iness of the departing nor mollify the pain of separation.murasaki’s grandmother the nun,for example,spoke of her impending death not in terms of release from her tumultuous earthly life,but rather in apprehension for the fate of the young murasaki.after the death of murasaki,it was written that:“neither[empress akashi]nor genji reflected that the separation imposed by death ** a natural one,or that others had suffered similar bere**ements;their loss seemed to them uniquely terrible,and i need hardly say that they felt like dreamers lost in the gray light of dawn.”(“the rites”,pp.237)there ex**ts a hint of deserved ambivalence in murasaki shikibu’s above commentary,for while she does articulate the universality and naturalness of death,the light she sheds on the mourning ** a decidedly sympathetic and detailed one.after all,a loved one had been irrevocably lost.jo;y+
in genji an absolute divide ** drawn between the living and the dead,and the presence of the deceased will be erased with the passage of time,kept only in private memory.in the case of blood relations,the death of a child such as aoi le**es a gaping wound in her aged parents’hearts forever.in princess omiya’s words:“although a new year/has come to replace the old./something old remains:tears overflowing the eyes/of one far advanced in age.”(“aoi”,pp.159)to genji,however,the grief and guilt quickly subsided with time.even the kiritsubo emperor,a devoted lover so inconsolable after the death of lady kiritsubo,eventually found a new happiness in lady fujitsubo.in the case of murasaki,of course,it was noted that“there was never an instant when the empress and the others forgot murasaki or ceased to m**s her.”(“the rites”,pp.242)nevertheless,murasaki and even the title character genji effectively d**appear from the tale after their passing.thus genji presents death as the wretched closing to an individual’s life journey,cutting her off from her societal surroundings—real**tically human in both its pitifulness and pain.x 2
in contrast,heike ** of a military epic,with far less d**tinctive characters and,aside from a few poignant scenes,** almost entirely focused on the course of h**tory as reflected through the r**e and fall of contending powers.individuals are valorized to the extent that they personify the ideals of the time—loyalty,br**ery and above all a warrior’s honor.yet in the end they are only pieces of the larger mosaic;and as a direct result the characters’dem**es are almost always violent and abrupt,and the story simply moves on without taking a moment to reflect on the human aspect of their dem**es.the world,after all,has not changed much except for the color of the army banners and—should one be so fortunate to escape the fate of a common nameless solider—one exalted statue in the warrior’s pantheon.further impersonalization of death r**es from the fact that death often occurs both en masse and anonymous.the descent into kurihara,the burning of nara and the battle at ichi-no-tani were three particularly horrific scenes,and in the last“piles of dead horses and dead men rose like clustered hills in front of the archery platform and under the branch barricades;the green bamboo-grass in the meadows at ichi-no-tani turned pale red.”(9.18,pp.396)2
in heike death ** also depicted with a pervasive sense of inevitability and foreshadowed gloom,and life ** rendered on an **ary plane as a fleeting dream,insignificant to the bigger reality.th** fatal**tic and faintly nostalgic overtone ** evident when at the very introduction of yoshih**a,the narrator duly noted that“when yo**sune met h** end in oshu,estranged from yoritomo after the defeat of the heike,it was that same yoshih**a who died at h** side.”(9.9,pp.384)whereas genji views both life and death from the perspective of the individual,heike often takes a panoramic view from the standpoint of h**tory.one of the most evident examples of its rejection of death as a human affair of importance to society ** to be found in sanemori’s reverent account of h** enemy warriors:“if a man[from the east]sees h** father or son cut down in battle,he just rides over the body and keeps fighting.”(5.11,pp.329)as the attitudes of kumagae and kagetoki’s showed towards their sons illustrate(9.10),th** was in part an exaggeration.nevertheless,in a time of constant warfare and quicksilver fortunes,it ** easy to understand why the warriors came to h**e an utter d**regard of death and life—that both of one’s own and of the other people.q`n!\
as heike ** a tale of ceaseless battles,its portrait of death must been analyzed not only from the perspective of the dying but also from that of the killer.just as to die ** to faithfully follow the warrior’s glorious path,to kill ** to gain fame and renown.after h** slaying of moritoshi,for example,noritsuna“…stuck the head on the tip of h** sword,held it high,and announced h** name in a mighty shout,‘inomata no koheiroku noritsuna has slain etchu no zenji moritoshi,the heike samurai known in these days as a demon god!(9.13,pp.391)the purpose of th** spectacle was,of course,to ensure noritsuna a place in the samurai mythology;and as atsumori’s exchange with kumagae indicates,the prey understands of the rules of the battle game just equally well.when offered h** life in exchange for h** name,the warrior in atsumori resolutely refused kumagae’s unexpected kindness—perhaps in fear that if he failed to die honorably,he will only go on to live an ignominious life like morinaga.th** ** yet another clear departure from genji’s world,where death ** something to be delayed and feared.1
it ** curious that heike should be a chronicle of the spectacular collapse of the heike rather than a complete record of its r**e and fall.one may speculate that th** transient perception of the mortal world comes from a buddh**t narrative,and the beginning poem of the saga seems to confirm th**.the karmic end of taira no kiyomori by supernatural forces,foreshadowed by both h** crude excesses and the burning of nara,also gives the text a buddh**t moral**tic fl**or.throughout its description of the exploits and glorious deaths of warriors,one of heike’s central themes ** the ephemerality of life.th** deeply pessim**tic overtone ** in sync with the general sense of the decline if not collapse in the social order:the spiritual refuge and the d**regard for the earthly life ** presented as the solution to one’s woes prec**ely because with the breakdown of central political control and rampaging warfare,there was little human solution for the society’s ills.as a result,the literary focus turned its focus from enjoying and living the grandiose material life(as was in genji)to attempting to escape from the present bleak life by entering the next prom**ing one.th** thinking asserts itself in the ** of taira no koremori,who after the downfall of h** clan turned to religious faith as the pillar of h** ex**tence.the holy man instructed him that by invoking the sacred name of amida buddha:“though you may expect to sink to the bottom of the blue sea,you will surely mount a purple cloud.”(10.12,pp.413)koremori ...