LESSON 1: EXPLORING CHINESE LITERATURE

 Chinese literature has a very ancient beginning. It was first recorded about 5000
years ago.
 It is the oldest written language spoken and written by humans.
 Chinese language is monosyllabic—each word has only one syllable.
 Chinese is a tonal language. The same word changes its meaning when it is said in
upward and downward intonation.
 Chinese writing has no alphabet; it consists of about 50,000 characters. Each
character does not represent the spoken word, rather it represents an idea.
Chinese language is therefore made up of ideographs.
 Chinese learners must learn 214 signs instead of 26 letters in English.
 Chinese is written from right to left, in columns from top to bottom.
 The Tang Dynasty produced four renowned poets: Wang Wei, Li-Po, To-Fu, and
Po-Chu-l
 Drama and fiction developed during the 1200s, resembling European opera,
combining singing, dancing, and dialogue.
 Chinese Literature recognizes five books, called the Five Classics, which form the
foundation of their cultural, political, and traditional life. These books are:
 The Book of Changes
 The Book of History
 The Book of Rites
 The Book of Odes
 The Spring and Autumn Annals.
Quiz: Exploring Chinese Literature Identification Test

1. When was Chinese literature first recorded?

5000 years ago:
2. What is the language in which Chinese literature is primarily written?
Chinese/Mandarin:
3. How would you describe the structure of the Chinese language in terms of
syllables? Monosyllabic:
4. In what way does intonation affect the meaning of words in Chinese?
Tonal Language
5. What do the characters in Chinese writing primarily represent?
Ideographs
6. How many signs must Chinese learners learn instead of the 26 letters in
English?
214 signs:
7. -8 In what direction is Chinese writing typically arranged, and how are the
characters organized?
Right to left.
top to bottom
9. During which historical period did the Tang Dynasty produce four renowned
poets?
Tang Dynasty:
10. -13. Can you name four poets from the Tang Dynasty?
Wang Wei, Li-po, Tofu, Po Chu I:
14-16. How were drama and fiction characterized in Chinese literature during the
1200s?
(singing, dancing, dialogue):
17-21. Name the five books that form the foundation of Chinese cultural, political,
and traditional life.
(Book of Change, History, Odes, Rites, Spring and Autumn Annals):

22-25: TRUE/FALSE
22. Chinese is the newest written language in the world.
23. Each Chinese character represents a spoken word.
24. The Tang Dynasty produced three renowned poets.
25. Chinese literature has no connection with European opera.
LESSON 2: UNDERSTANDING CONTEXT CLUES
You do not have to check the dictionary for every word you do not understand. Very
often,
you can get its meaning from clues in the sentence where the word is found.
You call these hints context clues.

Context clues indicate which of the possible meanings

of a word is intended by the writer or speaker.

There are several types of clues:

1. Definition
You must try to fulfill your oath because it is solemn promise.
2. Restatement
The result of the investigation is unpredictable. No one knows what the result will
be.
3.Example
She went into seclusion. No one came to see her, and she refused to see anyone.
4.Multiple meanings, depending on neighboring words.
This figure is a square. (geometrical figure)
Let us give him a square meal. (satisfying meal)
Try to square yourself. (adjust or set yourself right)
They will perform a square dance. (a kind of dance)

Unfamiliar Words:
1. Ancient: Very old, from a long time ago.
The ancient ruins of the castle stood on the hill, reminding us of the past.
2. Alteration: A change or modification.
The alteration in her hairstyle gave her a completely new look.
3. Intonation: The rise and fall of the pitch of your voice when speaking.
His question had a curious intonation, making it sound like he wasn't sure about
the answer.
4. Renowned: Widely known and respected.
The renowned artist's paintings were displayed in museums all over the world.
5. Foundation: The basis or starting point on which, something is built or
established.
The strong friendship between them formed the foundation of their support for
each other.
 Getting Meaning through Context Clues
Find out the meaning of each italicized word by using context clues.
Underline the surrounding words if you think those are the clues.

1. The fog was so heavy that it was impossible to see and avoid the oncoming car. The
collision
2. was inevitable.
3. This is a difficult experiment that requires careful performance. You will not be able to
get correct results if you do it in a haphazard manner.
4. That is a valid statement; I have no doubt that itis true.
5. There was a general exodus from the room when the alarm sounded; all the students
left.
6. Anna can make a dull gift package look beautiful;she is adept at gift wrapping and
tying ribbons.
7. This room is free from noise; it is conducive to study.
8. These days, a computer is an indispensable tool in many businesses. Companies
cannot
live without it.
9. She does not like to meet people; she is an introvert.
10. He is an extrovert; he is a very sociable person.
11. The scene was painted on the wall. It made an attractive mural.
12. The man planned the bombing; it was certainly premeditated.
13. Because he is always boasting, he is known as a braggart.
14. We must enter holy places with reverence.
15. Efren found the statement wrong and refuted it.
16. The infirm old man was confined in bed and looked after by a nurse.

EXERCISE 2: Explaining Word Meaning

Study the following paragraphs. Without using the dictionary, explain the meaning of
each underlined word using context clues.

Despite the (1) tremendous success of the space program, which is really very great, much still
remains to be done. It will be some time before man will have the (2) capability to settle on
planets- he must use energy, such as rocket power in space vehicles.

One step in making such flights possible is the development of a (3) space station- a kind of
(4) orbiting platform, going around the earth. This will be used as a place for vehicles where
astronauts can get off before proceeding to the planets.

The next thing to be mastered is the (5) rendezvous- -the meeting in space of two or more
vehicles, such as Gemini 6 and Gemini 7. When this (6) maneuver- a complicated tie-up process is
perfected, large space stations can be assembled after sending parts (7) aloft in space.

The first orbiting stations will probably be mere space laboratories where human beings will
test their ability to (8) survive under difficult conditions for months or years. These space stations
could be used to (9) disseminate information to earth.
LESSON 3: BUILDING WORDS FROM BASIC PARTS
Many English words can be broken into three basic parts: root word, prefix, and
suffix. Learn to understand these parts and you will understand the meaning of many
words.

 A root word is a word from which many words are derived. Kind is a root word
from which kindly, kindness, and unkind are derived.

 A prefix is a syllable or syllables placed before a root word to form a new

word. Return is composed of the prefix re- + the word turn. Return means "to
turn back or go back." Reread is composed of the prefix re-+ the root word
read. Reread means "to read again."

 A suffix is a syllable or syllables placed after a root word to form a new word.
Read is a root word; reader is composed of the word read +the suffix -er.
Reader means "one who reads." Act is a root word; actor is composed of the
word act +the suffix -or. Actor means "one who acts."

Using Prefixes
There are prefixes that have only one meaning and others with more than one
meaning.

Prefixes with only one meaning: Prefixes with more than one meaning

ben- good dis- opposite, away from

circum- around im-, in-,it-,il- not, into
equi- equal mal-, mis- bad, wrong
extra- outside pre- instead of, before, in favor of
non- not re- back, again
intra- within sub- under, below
intro- into un- opposite of, not

Using Suffixes
Suffixes, when added to root words, can form nouns, adjectives, adverbs, and verbs.
Here are some noun-forming suffixes.

 Expressing condition or state of being.: - ment, -ion, -ism, -ity, -ship, -dom. -ese
Ex: commitment, confusion, kindness, Taoism, peculiarity, friendship,
boredom, Chinese

 Indicating the doer or the one who engages in a certain activity

 -or, -er, -ee, -ant, -ess, -ist, -ian
Ex: actor, reader, enrollee, communicant, waitress, guitarist, guardian

 Stating a place or location: -ary, -rium

Ex: infirmary, aquarium, sanctuary

Here are some adjective-forming suffixes.

 -al, -ful, -ic, -eous, -ous, -less, -ly, -ish, -y, -ate
Ex. National, beautiful, romantic, courteous, odorous, ruthless, lovely, childish,
lengthy, compassionate
Here are some verb-forming suffixes: -ize, -ate
 Ex: legalize, communicate

Here are the most common adverb-forming suffix: -ly

 Ex: graciously, barely, frequently

LESSON 4: UNDERSTANDING SYNONYMS, ANTONYMS, AND HOMONYMS

(1) Synonyms - are words that mean the same or almost the same. However, as you
can see from the examples above, synonyms do not mean the same thing. Each one
is slightly different.
⁃ The juniors applauded the player.
⁃ The juniors cheered the player.
⁃ The juniors rooted for the player.

(2) Antonyms- are words that mean the opposite or nearly the opposite.
The prefixes in-, un-, dis-, -mis, and the suffix - less may be added
to
root words to form their antonyms.
⁃ He was a kind man.
⁃ His son was a cruel boy.
Other antonyms:
tolerant- intolerant
satisfactory unsatisfactory
comfort--discomfort
lead- mislead
thoughtful thoughtless

(3) Homonyms- are words that are pronounced in the same way but are
different in spelling and meaning.
⁃ nose- knows
⁃ -aisle- I’ll
 ⁃ male- mail
⁃ cite- sight

LESSON 5: USING IDIOMS AND IDIOMATIC EXPRESSIONS

IN REAL CONVERSATIONS
You have been studying words in relation to their literal or dictionary meanings.
However, there are expressions in English whose meanings are not the combined
meanings of the individual words that form the expressions.

An idiom or idiomatic expression is a word or group of words whose meaning is

different from the combined meanings of the words expressed.

⁃ between you and me - a secret

⁃ for a song - free
⁃ down-to-earth - very practical
⁃ from a to z - from beginning to end
⁃ through thick and thin - in spite of all difficulties
⁃ off the record - not to be made public
⁃ up to now - from the past to the present
⁃ to the point - to the important part
⁃ above all - most important
⁃ by no means - not at all
 LESSON 6: THE GREAT CHINESE PHILOSOPHERS
Two Chinese philosophers, Lao Tzu and Confucius greatly influenced the Chinese way
of life. Their teachings became the guiding principles of the Chinese people in
conducting their personal lives, family and social relations, political dealings and in
their search to understand the force that controlled the universe.

LAO TZU (6th Century B.C.)

 Lao Tzu, pronounced (loudzu'), is the name given to the father of Taoism
and the au-thot of the book called "Tao Te Ching or the Way and Its Power.
The Tao Te Ching contains Lao Tzu's words of wisdom.

 Taoism. Taoism (dou'izm) is a religion developed from Taoist philosophy.

Taoism is derived from (Tao) which means "Path" or «Way. For the early
Chinese, the Tao referred to the force that controlled the universe. Taoism
emphasizes three things:
⁃ freedom from desires,
⁃ simplicity of lifestyle
⁃ understanding the way of the universe.

CONFUCIUS (551 B.C.-478 B.C.)

 Confucius is one of the truly great men that China has produced. The word
Confucius is the Westernized form of his name, which is Kung Fu-tze, Kung
being his proper name, Fu signifying revered, and tze signifying teacher.

 The Analects for collected sayings of Confucius were compiled by his

followers long after his death. In all his teachings, Confucius emphasized
the importance of moral conduct. He tried to teach his followers to
become true gentlemen, by which he meant morally and spiritually
superior men.

 Confucianism. The philosophical ideas taught by Confucius led to the

development of Confucianism, a system of beliefs observed by most
Chinese and particularly concerned with moral behavior. The Analects of
Confucius, a collection of Confucian sayings, contain truth about social
relations between and among family members or friends.

Selections from the Analects of Confucius

1. The superior man loves his soul; the inferior man his property.
2. The superior man blames himself; the inferior man blames others.
3. To know what you know and know what you don't know is the
characteristic of one who knows.
 4. Do not worry about people not knowing you but strive to be worth
knowing.
5. A man who has committed a mistake and does not correct it is committing
another mistake.
The Soul of the Great Bell
Lafcadio Hearn
Nearly five hundred years ago the Celestial, Au-gust, the Son of Heaven, Yung-
Lo, of the "Illustrious or Ming Dynasty, commanded the worthy official Kouan-Yu that
he should have a bell made of such size that the sound thereof might be heard for
one hundred li. And he further ordained that the voice of the bell should be
strengthened with brass and deepened with gold and sweetened with silver and that
the face and the great lips of it should be graven with blessed sayings from the sacred
books and that it should be suspended in the center of the imperial capital to sound
through all the many-colored ways of the City of Peking (now called Beijing)

Therefore the worthy mandarin Kouan-Yu assembled the master moulders and the
renowned bellsmiths of the empire and all men of great repute and cunning in
foundry work; and they measured the materials for the alloy and treated them
skillfully and prepared the bell to sound through all the many-colored ways of the
imperial capital, the City of Peking. And they labored exceedingly, like giants,
neglecting rest and sleep and the comforts of life, toiling both day and night in
obedience to Kouan-Yu, and striving in all things to do the behest of the Son of
Heaven.

But when the metal had been cast and the earthen mould separated from the
glowing casting, it was discovered that despite their great labor and ceaseless care,
the result was void of worth; for the metals had rebelled one against the other; the
gold scorned alliance with the brass, the silver would not mingle with the molten iron.
Therefore the moulds had to be prepared once more and the fires rekindled and the
metal remelted and all the work tediously and toilsomely re-peated. The Son of
Heaven heard and was angry, but spoke nothing.

The bell was cast a second time, and the result was even worse. Still the metals
obstinately refused to blend, one with the other; and there was no uniformity in the
bell, and the sides of it cracked and fissured, and the lips of it slagged and split
asunder; so that all the labor had to be repeated even a third time, to the great
dismay of Kouan-Yu, who received a letter written upon colored silk and sealed with
the seal of the Dragon, containing these words:

From the Mighty Yung-Lo, the Sublime Tait-Sung, the Celestial and August, whose
reign is called Ming, to Kouan-Yu: Twice thou hath betrayed the trust we have
deigned graciously to place in thee; if thou fail a third time in fulfilling our command,
thy head shall be severed from thy neck. Tremble and obey.
 Now Kouan-Yu had a daughter of dazzling loveliness, whose name-Ko-Ngai-was
ever in the mouths of poets and whose heart was even more beautiful than her face.
Ko-Ngai loved her father with such love that she had refused a hundred worthy
suitors. But when she saw the awful yellow missive, sealed with the Dragon seal, she
fainted away with fear for her father's sake. When her senses and her strength
returned to her, she could not rest nor sleep for thinking of her parent's danger, until
she had secretly sold some of her jewels, and with the money so obtained had
hastened to an astrologer and paid him a great price to advise her by what means her
father might be saved from the perils impending over him. So the astrologer made
observations of the heavens and marked the aspect of the Silver Stream (which we
call the Milky Way) and examined the signs of the Zodiac the Hwang-tao, or Yellow
Road- and consulted the table of the Five Hin, or Principles of the Universe, and the
mythical books of the alchemists. And after a long silence, he made an answer to her,
saying.

"Gold and brass will never meet in wedlock, silver and iron never will embrace, until
the flesh of a maiden be melted with the crucible, until the blood of a virgin be mixed
with the metals in their fusion.”

So Ko-Ngai returned home sorrowful at heart, but she kept secret all that she
had heard and told no one what she had done.

At last came the awful day when the third and last effort to cast the great bell
was to be made; and Ko-Ngai, together with her waiting woman, accompanied her
father to the foundry, and they took their places upon a platform overlooking the
toiling of the mould-ers and the lava of metal. All the workmen wrought their tasks in
silence; there was no sound heard but the muttering of the fires. And the muttering
deepened into a roar like the roar of typhoons approaching, and the blood-red lake of
metal slowly brightened like the vermilion of a sunrise, and the vermilion was
transmitted into a radiant glow of gold, and the gold whitened blindingly like the
silver face of a full moon. Then the workers ceased to feed the raving flames, and all
fixed their eyes upon the eyes of Kouan-Yu; and Kouan-Yu prepared to give the signal
to cast.

But ere ever he lifted his finger, a cry caused him to turn his head and all heard
the voice of Ko-Ngai sounding sharply sweet as a bird's song above the great thunder
of the fires, "For thy sake, O my Father!" And even as she cried, she leaped into the
white food of meral; and the lava of the furnace roared to receive her, and spattered
monstrous lakes of flame to the roof, of many-colored fires, and subsided quelled,
with lightnings and with thunders and with mutterings.

Then the father of Ko-Ngai wild with grief, would have leaped in after her, but
the strong men held him back and kept firm grasp upon him until he had fainted away
and they could bear him like one dead to his home. And the serving woman of Ko-
Ngai, dizzy and speechless for pain, stood before the furnace, still holding in her hand
a shoe, a tiny, dainty shoe with embroidery of pearls and flowers the shoe of her
beautiful mistress that was. For she had sought to grasp Ko-Ngai by the foot as she
leaped; but had only been able to clutch the shoe, and the pretty shoe came off in her
hand; and she continued to stare at it like one gone mad.
But in spite of all these things, the command of the Celestial and August had to
be obeyed, and the work of the moulders to be finished, hopeless as the result might
be. Yet the glow of the metal seemed purer and whiter than before; and there was no
sign of the beautiful body that had been entombed therein. So the ponderous casting
was made; and lo! when the metal had become cool, it was found that the bell was
beautiful to look upon, and perfect in form, and wonderful in color above all other
bells. Nor was there any trace found of the body of Ko-Ngai; for it had been totally
absorbed by the precious alloy and blended with the brass and gold, with the
intermingling of the silver and iron. And when they sounded the bell, its tones were
found to be deeper and mellower and mightier than the tones of any other bell,
reaching even beyond the distance of one hundred li, like the peeling of summer
thunder; and yet also like some vast voice uttering a name, a woman's name the
name of Ko-Ngai.

And still, between each mighty stroke there is a long, low moaning ending with a
sound of sobbing and of complaining, as though a weeping woman should murmur
"Hiai!" And still, when the people hear the great golden moan, they keep silent; but
when the sharp sweet shuddering comes in the air, with the sobbing of the "Hiai!"
then, indeed, do all the Chinese mothers in all the many-colored ways of Peking
whisper to their little ones: "Listen! That is Ko-Ngai crying for her shoe! That is Ko-
Ngai calling for her shoe!"
 QUARTER 2 LESSON I:
EXPLORING JAPANESE LITERATURE
Japan: Land of the Rising Sun

Japanese literature is one of the major bodies of Oriental literature. It is less

voluminous than Chinese literature, but is comparable to Arabic, Persian, and Indian
literature. It covers the period from the fifth century A.D. to the present.
Poems and odes to the gods were composed in the early Japanese language before
the art of writing was known in Japan. Only fragments of this literature have
survived, but these are thought to have been extensive. During the first centuries of
writing in Japan, the spoken language and written language were identical.
But with the study of Chinese literature, literary work began to be composed almost
exclusively in Chinese.

There soon grew differences between colloquial Japanese and the literary
idioms. The addition of Chinese words into the Japanese language increased rapidly.
In Japanese writing at present, Chinese characters occupy the most important places.
But for the most part, the wants, feelings, and concerns of everyday life and all that
lie deeper in the human heart are expressed in native words.

The written language, therefore, consists mainly of characters borrowed from

the Chinese, each character representing an idea. To read and write, the student must
learn several thousand separate characters. But Japan has developed a basic
alphabet of only forty-seven characters the Katakana.

Learning in Japan was confined to the court circles before 1200. From 1400 to
1500 the military came into power, and education was denied to everyone except the
priests. In 1600 the modern period of general culture began. The people responded
enthusiastically to the policy of general education. Reading became a very popular
pastime. It was a common sight in Japan to see circulating libraries carried from
house to house on the backs of men.

It is a remarkable fact, without parallel in the history of literature, that a large

proportion of the literary works in Japan was written by women. This genius is said to
have made Japanese a literary language. The cultivation of the native tongue was left
to the ladies of the court and these ladies performed this task nobly.
The earliest Japanese literary work is the Kojiki (Records of Ancient Matters). It
relates the creation of the world, describes the gods and goddesses of the
mythological period, and contains facts about the earliest history of Japan. The next
important creative work was the Nihongi (Chronicles of Japan). It tells of the early
history of Japan in poetry and shows the profound influence of the Chinese. These
two books are the oldest in the language.

The Japanese are intensely proud of their history and take great care in keeping
and preserving records. Every town and village has its historical records. Even family
records are carefully copied from one generation to the next. In cities there are
professional storytellers who earn their livelihood by narrating legend ary and
historical tales. Memorial stones are among the striking sights along the highways in
every town and village and temple yard. These memorials honor some noted scholar,
ruler, or hero.

Japanese Drama
The drama is a favorite form of entertainment. Popular plays are generally about
history and tradition or the lives and adventures of gods and heroes. The setting is
always in Japan. The plays are very long. The performance begins in the morning and
can last all day. The spectators bring their food with them.

Three types of drama have been developed in Japan: the No play, the Joruri or
puppet play, and the Kabuki play.

The Noh play is the national theater of Japan. Tourists from all over the world go to
Japan to witness a Noh play. In the past it was a play reserved for the nobility, and the
audience dressed themselves in ceremonial robes. Legend says that the No has its
origin in dance and that this dance was invented by the gods.
The story runs thus: The all-important Sun goddess hid herself in the rock cave of
heaven, causing universal darkness. So, the other gods invented a dance that one of
them performed on top of an inverted tub, and the Sun goddess came out to see
what was causing the noise. The sound produced by the dancer stamping on the
wooden floor is still an important part of the play.

The puppet play (or doll theater) is very popular. The puppets are beautifully made
and lifelike in size. The strings are expertly manipulated, and the dialogue realistically
interpreted.

The third type of play is the Kabuki. The play for the masses. It is less intellectual and
more realistic, even sensational.

Japanese Poetry
 Poetry is a favorite among the Japanese. The oldest collection of poetry
(Manyõshu Collection of Myriad Leaves) -was compiled in 800 A.D. The collection
titled One Hundred Persons was compiled much later.

The writing of poetry was a required ability among the aristocratic classes. Skill
in the art led to promotion in court. Poetic ability was also necessary for courtship; a
suitor's letter to his loved one had to be exquisitely written in poetry. This was
carefully folded and tied with a spray of flowers before it was sent.

Japanese poems have a certain suggestive quality, with the poet seemingly
addressing the reader, "Your heart must complete the poem." Poems are written on
various subjects the falling of the blossoms, the reddening of the leaves in autumn,
the glory of the imperial family, the death of a wife or child, or the pleasures of drink.
The shortest form of Japanese poetry but the most popular is the Haiku, a seventeen-
syllable poem in three lines of five, seven, and five syllables. Poetry is so intimately
bound up with Japanese life that the Japanese set aside one day each year as Haiku
Day.

With the advent of the twentieth century, Western ideas and customs greatly
influenced the Japanese. European influences in literature are manifested in
translation and imitation, especially in fiction.
 QUARTER 2 LESSON I:
EXPLORING JAPANESE LITERATURE
JAPANESE LITERATURE
 Japanese literature is a significant part of Oriental literature, with a history
dating back to the 5th century A.D.
 Early Japanese literature included poems and odes to the gods, and it was
predominantly oral before the introduction of writing.
 Japanese written language primarily consists of Chinese characters representing
ideas, and learning it involves mastering thousands of characters, while a basic
alphabet called Katakana has only 47 characters.
 Education in Japan was limited to the court circles, then to the clergy, and later
became more widespread in the modern period, with reading becoming
popular.
 A substantial portion of Japanese literary works was authored by women,
contributing significantly to the development of Japanese as a literary
language.
 Important early works include the Kojiki (Records of Ancient Matters) and the
Nihongi (Chronicles of Japan), both influenced by Chinese culture and among
the oldest in the Japanese language.
 Japanese culture places a strong emphasis on preserving historical records, and
storytelling and memorials play a crucial role in this tradition.

Japanese Drama:
 Drama is a beloved form of entertainment in Japan, often centered around
history, tradition, gods, and heroes, with performances lasting an entire
day.
 Three main types of Japanese drama: Noh plays, Joruri or puppet plays,
and Kabuki plays.
⁃ Noh plays, the national theater, have a history associated with dance
and are often reserved for the nobility. They involve ceremonial
dress and distinctive sound effects.
 ⁃ Joruri or Puppet plays are popular, with lifelike puppets and skillful
manipulation of strings and dialogue interpretation.
⁃ Kabuki plays are more accessible and less intellectual, catering to the
masses, characterized by realism and sensationalism.

Japanese Poetry:

 Poetry is highly regarded in Japan, with a rich tradition dating back to the
8th century, including collections like Manyõshu and One Hundred
Persons.
 Poetry skills were valued among the aristocratic classes, and poetic ability
was essential for courtship, with suitor's letters typically written in
exquisite poetry.
 Japanese poems have a suggestive quality, with the reader expected to
complete the emotional depth of the poem.
 Various subjects, such as nature, the imperial family, love, and loss, are
common themes in Japanese poetry.
 The Haiku, a short 17-syllable poem in a 5-7-5 syllable format, is a popular
and celebrated form of Japanese poetry.
 Japan designates one day each year as Haiku Day to honor this poetic
tradition.

Influence of Western Ideas:

 In the 20th century, Western ideas and customs began to influence

Japanese literature, particularly in translation and fiction, reflecting
European influences.
 Lesson 2: Identifying the Basic Sentence Patterns
Pattern 1: The S-IV pattern. The simplest word order in English is the S-IV pattern.
S stands for subject and IV for intransitive verb (an action without a receiver).

Traditions exist.

Pattern 2: The S-TV-O pattern.

S stands for subject, TV for transitive verb (an action with a receiver/object), and O for
direct object.

The Chinese had oral traditions.

They studied the Confucian Analects.

The verb used in the S-TV-O pattern is a transitive verb; it requires an object to complete
its meaning. They had what? They had oral traditions (object). They studied what? They
studied the Confucian Analects. The words traditions and analects complete the
meaning of the sentence.

Pattern 3: The S-LV-C pattern.

S stands for subject, IV for linking verb, and for subjective complement, or a word
that adds to the meaning of the subject. The subjective complement may be a noun
or an adjective.
As a noun, it is identical to the subject; as an adjective, it describes the subject.

The poems were incantations. (Incantations is a noun complement.)

The legend seems interesting. (Interesting is an adjective complement.)

Pattern 4: The S-TV-IO-O pattern.

S stands for subject, TV for transitive verb, IO for indirect object, and O for direct
object.

The book gave them magic formulas.

Confucius taught moral ideas to his people. (people, object of preposition to)

Confucius gave his people moral ideas. (indirect object, people; preposition to
omitted)

Pattern 5: The S-TV-O-OC pattern.

S stands for subject, TV for transitive verb, O for direct object, and OC for objective
complement. The OC may be a noun or an adjective.

The men called Confucius Master.

(OC is a noun.)

They considered him wise.

(OC is an adjective.)

You can recognize the objective complement in a sentence because it is identifiable with
the object. Master and wise refer to Confucius.

Pattern 6: The V-S inverted pattern.

V stands for IV, IV, or IV. As a general rule, the subject comes before the verb in
English sentences, but in certain cases, the verb may come before the subject.

A. Statement Pattern with There The most common inverted pattern is the there
pattern.

A Chinaman is in that store.

There is a Chinaman in that store.

Myths and legends existed in olden times.

There existed myths and legends in olden times.

B. Statement Pattern with It Another inverted sentence pattern begins with it. This
pattern is generally used in relation to time or weather and is almost always used
in the contracted form in the present tense: It's for It is. It was is sometimes
contracted to 'twas.
 Today is warm.
It’s warm today.

It was the night before the Chinese New Year.

‘Twas the night before the Chinese New Year.

Lesson 3: The Story of the Aged Mother

A Japanese Folktale

Long, long ago there lived at the foot of a mountain a poor farmer and his aged,
widowed mother. They owned a bit of land which supplied them with food, and their
humble lives were peaceful and happy.

At that time Shinano was governed by a despotic ruler who, though a brave
warrior, had a great and cowardly shrinking from anything suggestive of failing health
and strength. This caused him to send out a cruel proclamation. The entire province was
given strict orders to immediately put to death all aged people.

Those were barbarous days, and the custom of abandoning old people to die was
not uncommon. However it was not a law, and many of the helpless old lived as long as
nature allowed in comfortable and welcoming homes. The poor farmer loved his aged
mother with tender reverence, and the order filled his heart with sorrow. But no one
ever thought a second time about obeying the mandate of a daimio, so with many deep
and hopeless sighs, the youth prepared for what at that time was considered the kindest
mode of death.

Just at sundown, when his day's work was ended, he took a quantity of the
unwhitened rice which is the principal food of the poor, cooked and dried it, and tying it
in a square of cloth, swung the bundle around his neck along with a gourd filled with
cool, sweet water. Then he lifted his helpless, old mother to his back and started on his
painful journey up to the mountain.

The road was long and steep. He plodded steadily on, the shadows growing deeper,
and deeper, until the moon, round and clear, rose above the mountaintop and peered
pityingly through the branches upon the youth toiling onward, his head bent with
weariness and his heart heavy with sorrow. The narrow road was crossed and recrossed
by many paths made by hunters and woodcutters. In some places, they mingled in a
confused puzzle, but he gave no heed. One path or another, it mattered not. On he went,
climbing blindly upward ever upward- toward the high, bare summit upward is ever
upward as Obatsuyama the mountain of the "Abandoning of the Aged."
 The eyes of the old mother were not so dim but they noted the reckless hastening
from one path to an-other, and her loving heart grew anxious. Her son did not know the
mountain's many paths, and his return might be of one of danger, so she stretched forth
her hand and, snapping the twigs from the bushes as they passed, she quietly dropped a
handful every few steps of the way so that as they climbed the narrow path behind them
was dotted at frequent intervals with tiny piles of twigs.

At last the summit was reached. Weary and heart-sick, the youth gently released his
burden and silently prepared a place of comfort as his last duty to the loved one.
Gathering fallen pine needles, he made a soft cushion and tenderly lifting his old mother
therein, he wrapped her padded coat more closely about the stooping shoulders and
with tearful eyes and an aching heart said farewell. The trembling mother's voice was full
of unselfish love as she gave her last injunction. "Let not thine eyes be blind, my son," she
said. "The mountain road is full of danger. Look carefully and follow the path which holds
the piles of twigs. They will guide thee to the familiar way farther down."

The son's surprised eyes looked back over the path, then at the poor, old, shriveled
hands all scratched and soiled by their work of love. His heart smote him and bowing to
the ground, he cried aloud. "Oh, Honorable Mother, thy kindness thrusts my heart! I will
not leave thee. Together we will follow the path of twigs, and together we will die!"

Once more he shouldered his burden (how light it seemed now!) and hastened
down the path, through the shadows and the moonlight, to the little hut in the valley.
Beneath the kitchen floor was a walled closet for food, which was covered and hidden
from view. There the son hid his mother, supplying her with everything needful and
continually watching and fearing.

Time passed, and he was beginning to feel safe when again the despot sent forth heralds
bearing an unreasonable order, seemingly as a boast of his power. His demand was that
his subjects should present him with a rope of ashes. The entire province trembled with
dread. The order must be obeyed; yet who in all Shinano could make a rope of ashes?

One night, in great distress, the son whispered the news to his hidden mother.
"Wait!" she said. "I will think. I will think." On the second day she told him what to do.
"Make a rope of twisted straw," she said. "Then stretch it upon a row of flat stones and
burn it there on a windless night.

He called the people together and did as she said, and when the blaze had died,
behold, upon the stones, with every twist and fiber showing perfectly, lay a rope of
whitened ashes.

The daimio was pleased at the wit of the youth and praised him greatly, but he
demanded to know where he had obtained his wisdom.

"Alas! Alas!" cried the farmer, "the truth must be told!" And with many deep bows he
related his story.
 The daimio listened and then meditated in silence. Finally he lifted his head.
"Shinano needs more than the strength of youth," he said gravely. "Ah, that I should have
forgotten the well-known saying, the crown of snow, there cometh wisdom!"

With That very hour the cruel law was abolished, and custom drifted into as far a
past that only the legend remains.

The Story of the Aged Mother

Characters:

Setting: In a mountainous region at the foot of a mountain, the story in the province of Shinano.

Synopsis:
A poor farmer and his aged mother face a despotic ruler's cruel decree to put all aged
people to death. Filled with sorrow, the farmer prepares to follow the order, carrying his mother
to the mountain's summit. The wise mother subtly marks the path with twigs, guiding him back.
At the summit, she instructs him to follow the marked path for a safe return. Overwhelmed by
her love, the son decides not to abandon her and returns home. A new challenge arises with an
order for a rope of ashes. The mother's wisdom leads them to create a rope of twisted straw,
impressing the ruler, who acknowledges the farmer's intelligence. Reflecting on the saying "the
crown of snow, there cometh wisdom," the ruler abolishes the cruel law, marking a shift from
arbitrary authority to recognizing genuine insight. The legend of the aged mother and her son
endures embodying themes of filial piety, wit, and resilience.

Themes:
Filial Piety: The importance of honoring and caring for one's parents.

Wit and Wisdom: Significance of intelligence and resourcefulness, particularly demonstrated by

the aged mother's clever solutions to challenges.

Challenge to Authority: Courage to question and challenge unjust authority, illustrating the
power of individuals to resist oppressive orders.

Respect for the Elderly: The despotic ruler's cruel proclamation prompts reflection on societal
attitudes toward the elderly, advocating for respect and consideration for older generations.

Mother's Guidance: The guidance provided by the aged mother symbolizes the enduring
influence of maternal wisdom and the importance of passing down valuable lessons through
generations.

Overcoming Adversity: The narrative portrays the resilience of the characters in overcoming
adversity through love, intelligence, and a determination to face challenges head-on.

Moral/Lesson:
The story imparts a valuable moral lesson about the enduring strength of familial bonds and the
transformative power of love and wisdom. It encourages individuals to stand against injustice,
showcasing the potential for positive change when faced with oppressive circumstances.
Moreover, it emphasizes the importance of respecting and caring for the elderly, recognizing
their wisdom and contributions to family and society. The legend serves as a reminder that even
in the face of adversity, filial piety, wit, and compassion can lead to lasting change and societal
transformation.

Lesson 4: The Madman on the Roof

Shingeki Play by Hiroshi Kikuchi (Kikuchi Kan)

Characters:
KATSUSHIMA YOSHITARO ----- the madman, twenty-four years of age
KATSUSHIMA SUEJIRO ----- his brother, a seventeen-year old high school student
KATSUSHIMA GISUKE ----- their father
KATSUSHIMA OYOSHI ----- their mother
TOSAKU ---a neighbor
KICHIJI ----- a manservant, twenty years of age
A PRIESTESS ----- about fifty years of age

PLACE: A small island in the Inland Sea

TIME: 1900

Synopsis:
The play revolves around Yoshitaro, a young man considered a madman due to his
obsession with climbing high places. Despite attempts by his family to cure him, including
a visit from a Priestess claiming divine inspiration, Yoshitaro remains enamored with the
beauty he perceives from elevated vantage points. Suejiro, his educated and pragmatic
brother, challenges the traditional beliefs in divine cures and exposes the fraudulent
nature of the Priestess. As the family grapples with the tension between societal
expectations and Yoshitaro's eccentric happiness, the play explores themes of mental
health, family dynamics, and the pursuit of individual joy.

Themes and Moral Lesson:

Perception of Normalcy: The play questions societal norms and challenges the idea
of what is considered "normal," highlighting the tension between societal
expectations and individual happiness.

Brotherly Love: Suejiro's unconditional love for Yoshitaro, despite societal

judgments, underscores the importance of familial bonds and acceptance.
 Sanity and Madness:
The play explores the thin line between sanity and madness, challenging
conventional definitions and suggesting that happiness might exist outside societal
norms.

Moral Lesson:
Embracing and understanding individual uniqueness is crucial, even if it defies societal
expectations. True happiness may not conform to conventional standards, and family
support and acceptance play a pivotal role in navigating the complexities of mental
health.

THE MADMAN ON THE ROOF

Once upon a time, in the year 1900, on a tiny island in the Inland Sea, there lived a family named
the Katsushimas. The eldest son, Yoshitaro, was a twenty-four-year-old man with a peculiar obsession –
climbing to high places. The villagers thought he was mad, and his family, especially his seventeen-year-
old brother Suejiro, tried everything to cure him.

One sunny day, Yoshitaro was found sitting on the roof, gazing out over the sparkling sea. His
father, Gisuke, worried about his son getting a sunstroke, called out for him to come down. Yoshitaro,
however, was captivated by what he believed to be a beautiful scene – the god Kompira dancing in the
clouds with an angel in pink robes. His family tried to convince him to come down, fearing for his safety,
but Yoshitaro was lost in his own world.

Gisuke, frustrated by Yoshitaro's behavior, decided to send Kichiji, the family's manservant, to
bring him down. Kichiji, knowing Yoshitaro's love for fried bean cake, suggested using it as a lure.
However, Yoshitaro resisted, claiming he was being called by the gods. The family struggled to
understand his eccentric happiness.

As Yoshitaro remained perched on the roof, his family discussed their concerns. Gisuke revealed that
Yoshitaro had been like this since he was born, climbing everything from shrines to mountains, and even
talking to demons and gods. The villagers believed he was influenced by a fox-spirit, but Gisuke thought
it might be a monkey-spirit.

Tosaku, a neighbor, informed Gisuke about a Priestess who believed in the god Kompira and could
work miracles. Gisuke, desperate for a solution, agreed to give it a try. The Priestess, with a crafty face,
arrived on the island, claiming to be a messenger of Kompira. She chanted prayers and, in a strange turn
of events, fell to the ground, claiming to be the god Kompira himself. The family, in awe, fell to their
knees. The priestess ordered to gather green pine needles, set it on fire with Yoshitaro, so the spirits will
leave his body. However, Suejiro, the educated and pragmatic brother, saw through the charade. He
exposed the Priestess as a fraud, asserting that she only wanted money.

In a fit of rage, Suejiro knocked the Priestess down, revealing her lies. The Priestess, insulted,
warned of impending punishment. The family, despite Suejiro's actions, tried to follow her instructions
of purifying Yoshitaro with the smoke of green pine needles.

Suejiro, realizing the absurdity of the situation, extinguished the fire and called out the Priestess
as a swindler. Tosaku, realizing his mistake, decided to leave with the Priestess.
 Suejiro, expressing his disdain for the Priestess and her lies, emphasized that Yoshitaro was happy
in his own way and that attempting to make him "normal" would only bring misery. The family, realizing
the truth in Suejiro's words, smiled at each other.

While the parents went into the house, Yoshitaro, during the commotion, slipped away and
climbed back up on the roof. Suejiro, Oyoshi, and Kichiji looked at each other and smiled knowingly.

In the golden light of the sunset, Yoshitaro, once again on the roof, found joy in the beauty around
him. Suejiro, torn between the sorrow of sanity and the happiness of his brother, joined him in
appreciating the golden palace in the clouds and the music that echoed from it.

As the sun set on the island, the Katsushima family continued to face life's challenges with love,
understanding, and a touch of madness in their hearts. And so, in their small island home, the tale of
Yoshitaro, the madman on the roof, unfolded with lessons of acceptance, brotherly love, and the pursuit
of individual happiness.

PLAY SCRIPT
The stage setting represents the backyard of the Katsushima, who are the richest family on the
island. A bamboo fence prevents one from seeing more of the house than the high roof, which
stands out sharply against the rich greenish sky of the southern island summer. At the left of the
stage once can catch a glimpse of the sea shinning in the sunlight. Yoshitaro, the elder son of the
family, is sitting astride the ridge of the roof, and is looking out over the sea.

GISUKE (speaking from within the house) : Yoshi is sitting on the roof again. He’ll get a
sunstroke---the sun’s so terribly hot. (Coming out.) Kichiji! --- Where is Kichiji?

KICHIJI (appearing from the right) : Yes! What do you want?

GISUKE: Bring Yoshitaro down. He has no hat on, up there in the hot sun. He’ll get a
sunstroke. How did he get up there, anyway? From the barn? Didn’t you put wires around
the barn roof as I told you to the other day?

KICHIJI: Yes, I did exactly as you told me.

GISUKE (coming through the gate to the center of the stage, and looking up to the roof):
I don’t see how he can stand it, sitting on that hot slate roof. (He calls.) Yoshitaro! You’d
better come down. If you stay up there you’ll get a sunstroke and maybe die.

KICHIJI: Young master! Come on down. You’ll get sick if you stay there.

GISUKE: Yoshi! Come down quick! What are you doing up there, anyway? Come down, I
say! (He calls loudly.) Yoshi!

YOSHITARO (indifferently) : Wha-a-at?

GISUKE: No “whats”! come down right away. If you don’t come down, I’ll get after you
with a stick.
YOSHITARO (protesting like a spoiled child) : No, I don’t want to. There’s something
wonderful. The pries of the god Kompira is dancing in the clouds. Dancing with an angel
in pink robes. They’re calling to me to come. (Crying out ecstatically.) Wait! I’m coming!

GISUKE: If you talk like that you’ll fall, just as you did once before. You’re already crippled
and insane---what will you do next to worry your parents? Come down, you fool!

KICHIJI: Master, don’t get so angry. The young master will not obey you. You should get
some fried bean cake; when he sees it he will come down, because he likes it.

GISUKE: No, you had better get the stick after him. Don’t be afraid to give him a good
shaking-up.

KICHIJI: That’s too cruel. The young master doesn’t understand anything. He’s under the
influence of evil spirits.

GISUKE: We may have to put bamboo guards on the roof to keep him down from there.

KICHIJI: Whatever you do wont keep him down. Why, he climbed the roof of the Honzen
Temple without even a ladder; a low roof like this one is the easiest thing in the world for
him. I tell you, it’s the evil spirits that make him climb. Nothing can stop him.

GISUKE: You may be right, he worries me to death. If we could only keep him in the
house it wouldn’t be so bad, even though he is crazy; but he’s always climbing up to high
places. Suejiro says that everybody as far as Takamatsu knows about Yoshitaro the
Madman.

KICHIJI: People on the island all say he’s under the influence of a fox-spirit, but I don’t
believe that. I never heard of a fox climbing trees.

GISUKE: You’re right. I think I know the real reason. About the time Yoshitaro was born, I
bought a very expensive imported rifle, and I shot every monkey on the island. I believe a
monkey-spirit is now working in him.

KICHIJI: That’s just what I think. Otherwise, how could he climb trees so well? He can
climb anything without a ladder. Even Saku, who’s a professional climber, admits that
he’s no match for Yoshitaro.

GISUKE (with a bitter laugh) : Don’t joke about it! It’s no laughing matter, having a son
who is always climbing on the roof. (Calling again.) Yoshitaro, come down! Yoshitaro! ---
When he’s up there on the roof, he doesn’t hear me at all---he’s so engrossed. I cut down
all the trees around the house so he couldn’t climb them, but there’s nothing I can do
about the roof.

KICHIJI: When I was a boy I remember there was a ginko tree in front of the gate.
GISUKE: Yes, that was one of the biggest trees on the island. One day Yoshitaro climbed
clear to the top. He sat out on a branch, at least ninety feet above the ground, dreaming
away as usual. My wife and I never expected him to get down alive, but after a while,
down he slid. We were all too astonished to speak.

KICHIJI: That was certainly a miracle.

GISUKE: That’s why I say it’s a monkey-spirit that’s working him. (He calls again.) Yoshi!
Come down! (Dropping his voice.) Kichiji, you’d better go up and fetch him.

KICHIJI: But when anyone else climbs up there, the young master gets angry.

GISUKE: Never mind his getting angry. Pull him down.

KICHIJI: Yes master.

(Kichiji goes out after the ladder. Tosaku, the neighbour, enters.)

TOSAKU: Good day, sir.

GISUKE: Good day. Fine weather. Catch anything with the nets you put out yesterday?

TOSAKU: No, not much. The season’s over.

GISUKE: Maybe it is too late now.

TOSAKU (looking up at Yoshitaro) : Your son’s on the roof again.

GISUKE: Yes, as usual. I don’t like it, but when I keep him locked in a room he’s like a fish
out of water. Then, when I take pity on him ad let him out, back he goes on the roof.

TOSAKU: But after all, he doesn’t bother anybody.

GISUKE: He bothers us. We feel so ashamed when he climbs up there and shouts.

TOSAKU: But your younger son Suejiro, has a fine record at school. That must be some
consolation for you.

GISUKE: Yes, he’s a good student, and that is a consolation for me. If both of them were
crazy, I don’t know how I could go on living.

TOSAKU: By the way, a Priestess has just come to the island. How would you like to have
her pray for your son? ---That’s really what I came to see you about.

GISUKE: We’ve tried prayers before, but it’s never done any good.

TOSAKU: This Priestess believes in the god Kompira. She works all kinds of miracles.
People say the god inspires her, that’s why her prayers have more effect than those of
ordinary priests. Why don’t you try her once?

GISUKE: Well, we might. How much does she charge?

TOSAKU: She won’t take your money unless the patient is cured. If he is cured, you can
pay her whatever you feel like.

GISUKE: Suejiro says he doesn’t believe in prayers…But there’s no harm in letting her try.
(Kichiji enters carrying the ladder and disappears behind the fence.)

TOSAKU: I’ll go and fetch her here. In the meantime you get your son down off the roof.

GISUKE: Thanks for your trouble. (After seeing that Tosaku has gone, he calls again.)
Yoshi! Be a good boy and come down.

KICHIJI (who is up on the roof by this time) : Now then, young master, come down with
me. If you stay up here any longer you’ll have a fever tonight.

YOSHITARO (drawing away from Kichiji as a Buddhist might from a heathen) : Don’t
touch me! The angels are beckoning to me. You’re not supposed to come here. What do
you want?

KICHIJI: Don’t talk nonsense! Please come down.

YOSHITARO: If you touch me the demons will tear you apart.

(Kichiji hurriedly catches Yoshitaro by the shoulder and pulls him to the ladder. Yoshitaro
suddenly becomes submissive.)

KICHIJI: Don’t make any trouble now. If you do you’ll fall and hurt yourself.

GISUKE: Be careful!
(Yoshitaro comes down to the center of the stage, followed by Kichiji. Yoshitaro is lame in
his right leg.)

GISUKE (calling) : Oyoshi! Come out here a minute.

OYOSHI (from within) : What is it?

GISUKE: I’ve sent for a Priestess.

OYOSHI (coming out) : That may help. You never can tell what will.

GISUKE: Yoshitaro says he talks with the god Kompira. Well, this Priestess is a follower of
Kompira, so she ought to be able to help him.
YOSHITARO (looking uneasy): Father! Why did you bring me down? There was a beautiful
cloud of five colours rolling down to fetch me.

GISUKE: Idiot! Once before you said there was a five-coloured cloud, and you jumped off
the roof. That’s the way you became a cripple. A Priestess of the god Kompira is coming
here today to drive the evil spirit out of you, so don’t you go back up on the roof.
(Tosaku enters, leading the Priestess. She has a crafty face.)

TOSAKU: This is the Priestess I spoke to you about.

GISUKE: Ah, good afternoon. I’m glad you’re come---this boy is really a disgrace to the
whole family.

PRIESTESS (casually) : You needn’t worry any more about him. I’ll cure him at once with
the god’s help. (Looking at Yoshitaro.) This is the one?
GISUKE: Yes. He’s twenty-four years old, and the only thing he can do is climb up to high
places.

PRIESTESS: How long has he been this way?

GISUKE: Ever since he was born. Even when he was a baby, he wanted to be climbing.
When he was four or five years old, he climbed onto the low shrine, then onto the high
shrine of Buddha, and finally onto a very high shelf. When he was seven he had began
climbing trees. At fifteen he climbed to the tops of mountains and stayed there all day
long. He says he talks with demons and with the gods. What do you think is the matter
with him?

PRIESTESS: There’s no doubt but it’s a fox-spirit. I will pray for him. (Looking at
Yoshitaro.) Listen now! I am the messenger of the god Kompira. All that I say comes from
the god.

YOSHITARO (uneasily) : You say the god Kompira? Have you ever seen him?

PRIESTESS (staring at him) : Don’t say such sacrilegious things! The god cannot be seen.

YOSHITARO (exultantly) : I have seen him many times! He’s an old man with white robes
and a golden crown. He’s my best friend.

PRIESTESS (taken aback at this assertion, speaking to Gisuke) :

This is a fox-spirit, all right, and a very extreme case. I will address the god.
(She chants a prayer in a weird manner. Yoshitaro, held fast by Kichiji, watches the Priestess
blankly. She works herself into a frenzy, and falls to the ground in a faint. Presently she rises
to her feet and looks about her strangely.)

PRIESTESS (in a changed voice) : I am the god Kompira!

(All except Yoshitaro fall to their knees with exclamation of reverence.)
PRIESTESS (with affected dignity): The elder son of this family is under the influence of a
fox-spirit. Hang him up on the branch of a tree and purify him with the smoke of green
pine needles. If you fail to do what I say, you will all be punished!
(She faints again. There are more exclamation of astonishment.)

PRIESTESS (rising and looking about her as though unconscious of what has taken place):
What has happened? Did the god speak?

GISUKE: It was a miracle.

PRIESTESS: You must do at once whatever the god told you, or you’ll be punished. I warn
you for your own sake.

GISUKE (hesitating somewhat) : Kichiji, go and get some green pine needles.

OYOSHI: No! It’s too cruel, even if it is the god’s command.

PRIESTESS: He will not suffer, only the fox-spirit within him. The boy himself will not
suffer at all. Hurry! (Looking fixedly at Yoshitaro.) Did you hear the god’s command? He
told the spirit to leave your body before it hurt.

YOSHITARO: That was not Kompira’s voice. He wouldn’t talk to a priestess like you.

PRIESTESS (insulted) : I’ll get even with you. Just wait! Don’t talk back to the god like
that, you horrid fox!
(Kichiji enters with an armful of green pine boughs. Oyoshi is frightened.)

PRIESTESS: Respect the god or be punished!

(Gisuke and Kichiji reluctantly set fire to the pine needles, then bring Yoshitaro to the fire.
He struggles against being held in the smoke.)

YOSHITARO: Father! What are you doing to me? I don’t like it! I don’t like it!

PRIESTESS: That’s not his own voice speaking. It’s the fox within him. Only the fox is
suffering.

OYOSHI: But it’s cruel!

(Gisuke and Kichiji attempt to press Yoshitaro’s face into the smoke. Suddenly Suejiro’s
voice is heard calling within the house, and presently he appears. He stands amazed at the
scene before him.)

SUEJIRO: What’s happening here? What’s the smoke for?

YOSHITARO (coughing from the smoke, and looking at his brother as a saviour) : Father
and Kichiji are putting me in the smoke.
SUEJIRO (angrily) : Father! What foolish thing are you doing now? Haven’t I told you time
and time again about this sort of business?

GISUKE: But the god inspired the miraculous Priestess…

SUEJIRO (interrupting) : What nonsense is that? You do these insane things merely
because he is so helpless.
(With a contemptuous look at the Priestess he stamps the fire out)

PRIESTESS: Wait! That fire was made at the command of the god!
(Suejiro sneeringly puts out the last spark.)

GISUKE (more courageously) : Suejiro, I have no education, and you have, so I am always
willing to listen to you. But this fire was made at the god’s command, and you shouldn’t
have stamped on it.

SUEJIRO: Smoke won’t cure him. People will laugh at you if they hear you’ve been trying
to drive out a fox. All the gods in the country together couldn’t even cure a cold. This
Priestess is a fraud. All she wants is the money.

GISUKE: But the doctors can’t cure him.

SUEJIRO: If the doctors can’t, nobody can. I’ve told you before that he doesn’t suffer. If
he did, we’d have to do something for him. But as long as he can climb up on the roof, he
is happy. Nobody in the whole country is as happy as he is---perhaps nobody in the world.
Besides if you cure him now, what can he do? He’s twenty-four years old and he knows
nothing, not even the alphabet. He’s had no practical experience. If he were cured, he
would be conscious of being crippled, and he’d be the most miserable man alive. Is that
what you want to see? It’s all because you want to make him normal. But wouldn’t it be
foolish to become normal merely to suffer? (Looking sidewise at the Priestess.) Tosaku, if
you brought her here, you had better take her away.

PRIESTESS (angry and insulted) : You disbelieve the oracle of the god. You will be
punished! (She starts her chant as before. She faints, rises, and speaks in a changed voice.)
I am the great god Kompira! What the brother of the patient springs from his own
selfishness. He knows if his sick brother is cured, he’ll get the family estate. Doubt not
this oracle!

SUEJIRO (excitedly knocking the Priestess down) : That’s a damned lie, you old fool.
(He kicks her.)

PRIESTESS (getting to her feet and resuming her ordinary voice) : You’ve hurt me! You
savage!

SUEJIRO: You fraud! You swindler!

TOSAKU (coming between them) : Wait, young man! Don’t get in such a frenzy.

SUEJIRO (still excited) : You liar! A woman like you can’t understand brotherly love!

TOSAKU: We’ll leave now. It was my mistake to have brought her.

GISUKE (giving Tosaku some money) : I hope you’ll excuse him. He’s young and has such a
temper.

PRIESTESS: You kicked me when I was inspired by the god. You’ll be lucky to survive until
tonight.

SUEJIRO: Liar!

OYOSHI (soothing Suejiro) : Be still now. (To the Priestess) : I’m sorry this has happened.

PRIESTESS (leaving with Tosaku) : The foot you kicked me with will rot off!
(The priestess and Tosaku go out.)

GISUKE (to Suejiro) : Aren’t you afraid of being punished for what you’ve done?

SUEJIRO: A god never inspires a woman like that old swindler. She lies about everything.

OYOSHI: I suspected her from the very first. She wouldn’t do such cruel things if a real
god inspired her.

GISUKE (without any insistence) : Maybe so. But, Suejiro, your brother will be a burden to
you all your life.

SUEJIRO: It will be no burden at all. When I become successful, I’ll build a tower for him
on top of a mountain.

GISUKE (suddenly) : But where’s Yoshitaro gone?

KICHIJI (pointing at the roof) : He’s up there.

GISUKE (having to smile): As usual.

(During the preceding excitement, Yoshitaro has slipped away and climbed back up on the
roof. The four person below look at each other and smile.)

SUEJIRO: A normal person would be angry with you for having put him in the smoke, but
you see, he’s forgotten everything. (He calls.) Yoshitaro!

YOSHITARO (for all his madness there is affection for his brother) : Suejiro! I asked
Kompira and he says he doesn’t know her!
SUEJIRO (smiling) : You’re right. The god will inspire you, not a priestess like her.
(Through a rift in the clouds, the golden light of the sunset strikes the roof.)

SUEJIRO (exclaiming) : What a beautiful sunset!

YOSHITARO (his face lighted by the sun’s reflection) : Suejiro, look! Can’t you see a golden
palace in that cloud over there? There! Can’t you see? Just look! How beautiful!

SUEJIRO (as he feels the sorrow of sanity) : Yes, I see. I see it, too. Wonderful.

YOSHITARO (filled with joy) : There! I hear music coming from the palace. Flutes, what I
love best of all. Isn’t it beautiful?

(The parents have gone into the house. The mad brother on the roof and the same brother
on the ground remain looking at the golden sunset.)