Prepared By: Christy D. Bataican

ENG.
110: Survey of Afro-Asian Literature
“JAPAN”
Prepared by:
Christy D.
Bataican
ENG. 110: Survey of Afro-Asian Literature
OBJECTIVES:
To be acquaint of the

different philosophies of
Japanese people.
To learn Japanese
literature.
10 Japanese
Philosophies
Japanese people integrate ancient philosophies into

their daily practices. There seems to be a piece of
Japanese philosophy to suit every stress or struggle in
life. Often they can be really helpful to clear your
mind and determine the best path to take.
Japanese philosophies teach us how to be gentler,
kinder and more mindful, both towards ourselves and
to others. For a culture that values treating others
with respect so highly, these philosophies are so
important.
Let’s take a look at 10 amazing Japanese philosophies that can provide

you with guidance, wisdom and truth.
1. Ikigai
Ikigai is loosely translated as ‘your purpose in life’ from the
Japanese ‘iki’ (to live) and gai (reason). In Western society,
success is often defined as winning or losing, having and not
having. The concept of Ikigai is about shifting our mindset and
accepting that as human beings, we’re never always going to
be on top, and that’s totally fine. Ikigai is thinking about the
small stuff, and stepping away from the competitive rat race
life can often turn into.
There are five pillars that make up the foundations of Ikigai:
starting small, releasing yourself, harmony and
sustainability, the joy of little things, and being in the
here and now. You can use these pillars and the study of
Ikigai in your daily life to find clarity, whether it be discovering
what you’re passionate about at work, or using your own skills
more.
2. Buddhism
Buddhism is the most ancient of Japanese philosophies, and is
now followed by
approximately 350 million people across the world. Buddhism
originates from the teachings of Buddha, a teacher who lived
in northern India between the mid-4th and mid-6th centuries.
Buddhism teaches many different concepts, but some of the
main ones include:
Impermanence (that the human body goes through many
states and that nothing is forever)
Dependent co-origination (that all events are linked in
some way and that everyone must go through suffering)
Emptiness or ‘sunyata’ (that everything originates from
nothing).
Understanding the self and being reflective is a major part of
Buddhism, so a great place to start with embracing this
philosophy might be to begin meditating or attending a yoga
class.
3. Confucianism
Confucianism was introduced to
Japan in the year 285 A.D. This philosophy revolves around
the teachings of Confucius in 500 B.C. The main principles
of Confucianism are
humanity, loyalty morality and consideration, as well as
placing a heavy emphasis on mercy, social order and the
fulfillment of responsibilities.
The main part of Confucianism is known as ‘ren’, meaning
to show love, mercy and humanity towards all living
things. Confucianism also teaches that the family unit is
the centre of life and should always come before an
individual. So if you’re wanting to embrace some
Confucianist values in your life, take a bit more time to
love, care for and cherish your family.
4. The concept of ‘nothingness’

In Western philosophy, we usually analyse what it means
to be, do, exist, or think. However in Japanese
philosophy, they’re more interested in the concept of
nothingness. The Japanese see the concept of
nothingness as a very positive thing, relating it to being
awakened or enlightened.
Kitaro Shishia (founder of the Kyoto School of
Philosophy) said: “Nothing exists that isn’t connected.
But connectedness doesn’t exist. It shows itself through
things that are connected, but connectedness itself
doesn’t exist. You can’t point to it. So, which is more
fundamental? Connected things, or connectedness?
Connectedness is more fundamental.”
A little confused? So are we on this one. Still, we think you can embrace the
concept of ‘nothingness’ in your life by taking time out for yourself to relax,
reset your mind, and simply do nothing!
5. The Way of Tea

Tea ceremonies are very important in Japanese
culture, and the ‘Way of Tea’ is all about balancing
the concepts of conversations, traditions and
learning. The Way of Tea is about sharing
knowledge with fellow humans, and is regarded by
the Japanese almost as a spiritual practice.
The four principles of Japanese tea practice are
harmony, respect, purity and tranquility,
aiming to awaken the senses and unite the mind
and body. There’s nothing better than taking some
time out for yourself, and although you may not
have time to indulge in a full tea ceremony, having
a cuppa after work can sometimes be enough.
6. 酔生夢死 ‘ Drunken life, dreamy death’

This philosophical saying basically means how unwise it
is to dream your life away, or spend all your time
dreaming about what you could be doing. All this
dreaming is often a distraction from actually achieving
things in life. Always dream, but be sure to get to work
taking tangible steps towards your dreams as well.
7. Zazen (sitting meditation)
Zazen relates to the concept of nothingness, and
involves regularly meditating so that you can clear your
mind and come back to your true nature. Zazen is easy
to practice in your regular life. Just sit on a cushion in an
upright position and try to forget about all your ideas.
Try not to think about anything, and if you regularly
practice, your own true nature will resume itself.
8. When you listen to somebody, listen to

them fully
Japanese philosophy places an emphasis
on respecting people by taking the time to
really, truly listen to what they are saying.
When you are speaking with someone, give
up all your preconceived ideas and subjective
opinions and just listen, observing the person
and just seeing things as they are, rather
than judging or deciding that something is
‘good’ or ‘bad’. Removing this judgement can
lead to more peaceful negotiations and
happier friendships!
9. 二兎を追う者は一兎をも得ず。 One who chases

after two hares won’t even catch one!
In our modern fast-paced lives, it’s so easy to
spread yourself thin and try to do a million
things at once. Whether it’s succeeding at work,
picking up your kids from school or maintaining
your hobbies and social life, there’s often too
much to do and not enough time! This piece of
Japanese philosophy means that if you’re going
after too many things, then you won’t get any.
Take the time to figure out what it is you really
want and then dedicate yourself to achieving
this. You’ll reach your goal quicker and feel really
good about yourself!
10. Itadakimasu
The Japanese people have massive respect for
food, and it’s common to hear people say
‘itadakimasu’ before eating a meal. This phrase
means ‘I humbly receive’ and can be likened to
Christians saying ‘Grace’ before a
meal. Itadakimasu relates to the Buddhist
concept of having respect for all living things,
and is a way of thanking the plants and animals
that gave up their lives for the meal. It’s also a
way to thank everyone who was involved in the
meal – from the chefs who prepared it, to the
fishermen who caught the fish.
Japanese
Mythology:
5 Famous Japanese
Legends
JAPANESE CREATION MYTH
LITERATURE
1. Japanese Creation Myth
The creation myth comes from the Kojiki, or “Record of Ancient
Matters,” the first book written in Japan (dating back to 712) and
the Nihon Shoki (finished in 720).

The story begins in a limitless, formless chaos of a dark, silent
universe. After many eons, particles begin to move and create
sound. The lightest particles rise to form the heavens, where the
first three gods appear — the Three Creating Deities.
The remaining particles drop down and create a mass called
“Earth,” but it takes many millions of years for this to solidify.
Instantaneously, two more deities emerge, this time on Earth,
sprouting from a reed.
Many more gods follow, but they have nothing to do other than
merely exist while the universe remains in chaos.
Two gods, Izanagi and Izanami, are summoned and told to descend
to the land to rule creation. Thus, life on Earth begins.
2. The Sun, the Moon, and the Wind

Shortly after creation, Izanami dies during
childbirth. Distraught, Izanagi takes a journey
to Yomi, the land of the dead, to bring her back.
Izanagi is too late. Izanami’s body has already
started to rot. Izanagi returns to Earth and
purifies himself, and as he does so, new deities
appear including Amaterasu, the sun
goddess, Tsukuyomi, the moon god,
and Susanoo, god of the wind.
As you can see, many Japanese legends have to
do with the creation of everyday things in the
world around us.
3. Amaterasu and the Cave
Amaterasu is the most well-known Japanese goddess, and
much of Japanese mythology tells of her rivalry with her
brother Susano-o.
In the most famous tale, Amaterasu hides inside a cave after
another conflict with Susano-o. This causes the entire world to
sink into darkness, and evil spirits begin to roam the Earth.
After several attempts by the gods to draw her from the cave,
they are finally successful when the Ame-No-
Uzume, the goddess of merriment, dresses in flowers and
dances on an upturned washtub.
As the flowers fall from her body, the male gods laugh
uproariously. As Amaterasu peaks out of the
cave, Amenotejikara pulls her from the cave, and light returns
to the world.
Today, this Japanese legend is remembered through Shinto
theatrical performances.
4. Hare of Inaba
There are two versions of the Hare of Inaba, but here
is one of the most widely-accepted versions. This
Japanese legend is a metaphor of how civilization
struggled against barbarism to form the nation of Japan.
The myth tells how a hare tricks a crocodile into
forming a bridge to enable him to cross to an island.
Unfortunately, the crocodiles figure out the trick, and
team up on the hare and pull off all of his fur.
Around the same time, some men who resembled the
king’s son pass the hare. The hare calls out to them and
asks for help. The brothers advise the hare to wash in
seawater and dry in the sun. The salt from the seawater
makes the hare even more uncomfortable, and the hare
lays in the field crying out in pain.
Soon after, another brother tells the hare

to wash in fresh water and roll in cattails
pollen. After the treatment, the hare rewards
the brother, who is actually the fairy Okuni-
nushi-no-Mikoto, by telling him that he will
marry Princess Yakami.
The hare of Inaba is remembered for his
role in bringing out modern Japan by his
representation in festivals, on artwork, and in
shrines around the country. This is one of the
most well known Japanese legends.
5. The Japanese Legend of Emperor Jimmu

Jimmu, the great-grandson of the goddess Amaterasu, is the
mythical founder of Japan and first emperor on traditional lists.
Legend says that he was born in 711 BCE and died in 585 BCE,
which would mean he was 126 years old at his death. There is
little evidence that Jimmu ever existed. In fact, modern-day
scholars believe that of the nine
emperors, Suizei, Jimmu’s successor, was the only one who
actually lived.
Despite this historical discrepancy, the Japanese myth is still
important as it tells the story of how the Imperial Family, which
still exists today, began.
Learning Japanese mythology can enrich your overall learning
experience if you’re taking Japanese lessons. The stories are
interesting and they generally teach readers important life
lessons.
JAPANESE EPIC
THE HEIKE MONOGATARI
The Tale of the Heike is the
classic of medieval samurai fiction--
the romance of the warrior, which in
Japanese fiction comes after the
romance of the lover, instead of
before as in Western literature. The
great classic of the earlier Heian
Period (794-1185) was The Tale of
Genji. Genji is definitely a courtly
lover, not a battlefield warrior, and
he is the ideal of the period, as
imagined by a sophisticated woman
at home in te world of that court.
The heroes (and villains) of the Tale
of the Heike are battlefield warriors,
however, and this is the period, the
Kamakura Period (1185-1333), when
the mystique of the samurai
develops.
Kamo no Chomei (1153-1216) comes early in

this period, and presents the chaos that had
descended on Heian-Kyo in My Ten-Foot
Hut (that I presented last month), a chaos that
lead him to reject that world. And there are
important developments in Buddhist thought
and the Noh drama in the period, but it is
dominated by Civil War and the development of
the warrior's code.
The story told in the 800 pages of the book happens in 20

years which would be relatively early in Chomei's lifetime,
but he tells nothing of that story himself. It is essentially
the story of a fall from political power provoked by pride,
the pride of the Taira clan of warriors (the Heike) faced
with the rise of the Minamoto clan (the Genji), whom the
Taira had defeated in the 1160s. They had also ousted
the Fujiwara family from the power at court it had held
during most of the Heian Period. But the great battles
come in five years (1180-85), from the rise of the
Minamoto clan in 1180 to their crushing defeat of the
Taira in 1185, and these then become as well known in
Japanese history as our great Civil War battles are to us.

The tale divides roughly into three parts. The

central figure of the first part is Taira no Kiyomori--a
great villain. "Arrogant, evil, and ruthless, he is
above all so consumed by the fires of hatred for the
Minamoto that he dies in agony, his feverish body
beyond all cooling, even when he is immersed in
water." The main figures of the second and third
parts are the Minamoto generals, Minamoto no
Yoshinaka, then, after his death, the great samurai
warrior, Minamoto no Yoshitsune, a military genius
wrongly suspected of treachery by his elder brother,
Minamoto no Yoritomo, the more astute politician.

The Tale has an epic sweep in being centered

on the great battles that resolve this conflict,
the brave deeds of warriors, and the code of
bushido, prizing strict loyalty to the lord and
honor over life that we have since come to see
as the samurai code. But there are subordinate
episodes involving love stories that hark back to
Heian literature, and the whole is permeated by
Buddhist themes stressing that all human
experience is ephemeral and illusory, that
nothing persists except faith in the Buddha.

One thing that gives the work a link to the epic tradition,
but also a stong link to these Buddhist themes is that it
was developed by a tradition of Biwa Hoshi, blind priests
who traveled the country reciting this and other works to
the accompaniment of the lute. They used no fixed text
but recreated the story each time as chanters using oral
formulae, many passages in the 7-5 syllable rhythm of
classical poetry, which has suggestions of the way the
Homeric epics were passed on even to Plato's time. The
result is that surviving texts vary greatly from one
another.
In any case, the work has influenced later writers, and
values, greatly. It provided material for many Noh plays,
and informed the general samurai mystique of later
ages, unto World War II.
SHORT STORIES
(Rashomon by Ryūnosuke Akutagawa
The Nose by Ryūnosuke Akutagawa,
Patriotism by Yukio Mishima)
RASHOMON SUMMARY AND ANALYSIS OF
"IN A GROVE"
A series of epistolary testimonies are
given before the High Police
Commissioner of Kyōto surrounding the
discovery of a murdered man’s body in a
grove. As in any detective story, we
learn the events from the head and tail
instead of in linear fashion.
The first account is that of the
woodcutter who discovered the man's
body in the woods. He says the man died
of a single sword stroke to the chest, and
that the trampled leaves around the
body showed there had been a violent
struggle. There were no swords nearby,
and not enough room for a horse—only a
single piece of rope, a comb and
bloodstained bamboo blades.
RASHOMON SUMMARY AND ANALYSIS OF
"IN A GROVE"
A traveling Buddhist priest delivers the next

account. He says that he saw the man, who
was accompanied by his wife on horseback, on
the road, around noon the day before the
murder. The man was carrying a sword, a bow
and a black quiver.
The next person to testify is a hōmen (a released

prisoner working under contract to the police,
similar to a bounty hunter). He has captured a
notorious brigand named Tajomaru. Tajomaru was
injured when thrown from his horse, and he was
carrying a bow and a black quiver, which he
suspects was stolen from the body. Tajomaru was
not carrying the dead man's sword, but he
believes there is proof enough to convict him of
the murder.
The next testimony is from an old woman, who
identifies herself as the mother of the missing
girl. Her daughter is a spirited, fun-loving 19-
year-old named Masago, married to
Kanazawa no Takehiko—a 26-year-old samurai

from Wakasa. Her daughter, she says, has never
been with a man other than Takehiko. She begs the
police to find her daughter and her testimony trails
off as she drowns her words in tears.
Next, Tajomaru confesses to killing Takehiko, but
not the girl. He says that he saw them on the road
and upon first seeing Masago, decided that he was
going to capture her. He made a plan to lure
Takehiko into the woods with the promise of buried
treasure. He then gagged him with bamboo leaves,
tied him to a cedar root and calmly brought Masago
back. When she saw her husband tied up, she pulled
a dagger from her bosom and tried to stab Tajomaru,
but, being a skilled brigand as he is, he successfully
dodged her attack and had his way with her.
Originally, he had no intention of killing the

man, he claims, but after the rape, she begged
him to either kill her husband or kill himself—
she could not live if two men knew her shame.
The survivor would be her new husband.
Tajomaru, observing proper dueling etiquette,
untied Takehiko so they could have a fair
swordfight. During the duel, Masago fled, but
Tajomaru did not notice. Tajomaru took the
man's sword, bow, and quiver, as well as the
woman's horse, which was simply grazing
quietly. He says that he sold the sword before
the bounty hunter captured him.
In a Penitent Confession, Masago gives her

account. According to her, after the rape,
Tajomaru fled, and her husband, still tied down,
had an indescribable light in his eyes that made
her shudder. She no longer wanted to live, but
she said she couldn't leave him alive as he was.
He agreed, or so she believed—he couldn't
actually say anything because his mouth was
still stuffed full of leaves—and she plunged her
own dagger into his chest. She then unbound
Takehiko, and ran off into the forest, whereupon
she attempted to commit suicide numerous
times, she said, but Kwannon, a bodhisattva
goddess, must have kept her alive.
The final account comes from Takehiko through a

"Medium.” The spirit says that after the rape,
Tajomaru persuaded the beautiful entranced Masago
to become his wife; Masago assented, but then
Tajomaru suddenly turned pale and cried that he
must kill Takehiko. Tajomaru kicked Masago to the
ground, and asked Takehiko if he should kill her.
Hearing this, Masago shrieked and fled into the
forest. Tajomaru then cut Takehiko's bonds and ran
away, saying his fate was next. Takehiko grabbed
Masago's forgotten dagger and plunged it into his
chest. Soon, his spirit leaves his body and retrieves
the dagger from his breast, leaving him to sink down
into the darkness of space.
At a quick glance, it is easy to see that the

three stories do not match up. In fact, Tajomaru,
Masago, and Takehiko each say that they killed
Takehiko with their own hands. The things we can
presume to know are as follows: 1) Takehiko is
dead, 2) Tajomaru raped Masago, 3) Tajomaru
stole the arrows, quiver, and horse, 4) Masago
wishes Takehiko to be dead, 5) Masago and
Tajomaru did not leave together.
ANALYSIS
"In a Grove,’’ is one of the most popular of

Akutagawa's short stories, having been adapted
into a film in 1950 and also widely translated into
many languages during the '90s. Whereas this
version of the story was translated over 50 years
ago, Jay Rubin's recent translation of this text
in Rashōmon and Seventeen Stories provides a
more modern understanding of the Japanese
language, the biggest change being that Masago
doesn't truly confess in the way that we know the
word. It is more akin to "repentance" or
"penitence" because of its religious connotations.
There are many discrepancies between the various

accounts and they vary vastly in significance. For the
woodcutter, who first discovered the body, mentions
a comb that is never brought up again. He also
speculates about a "violent struggle" that trampled
the leaves, which only occurs as a duel in Tajomaru's
story. When asked to describe the body, the
woodcutter says that it wears a Kyōto-style headdress
and has a single fatal sword stroke across the chest.
These two details are problematic because Masago's
mother specifically indicates that Takehiko is not from
Kyōto and for the sword stroke, Masago and Takehiko
both blame a dagger that is thrust into the chest for
his death, not a slash.
In the Buddhist priest's account, there were more
than 20 arrows in Takehiko's quiver, but
the hōmen says there were only 17. No arrows were
shot in the duration of the story. Whereas the
Buddhist priest says that Masago wore a lilac
kimono, Masago says that Takehiko wears this lilac
kimono. The woodcutter says that Takehiko wore a
blue kimono.
Tajomaru says nothing about how Masago's dagger
disappeared from the grove, which is key to both
Masago and Takehiko's accounts of the murder.
Masago also neglects to mention how Takehiko's
sword disappeared from the grove, though Tajomaru
admits that he dropped it during his escape.
Masago omits any post-rape

conversation and says that Takehiko
hated Masago and found her disgusting
afterward. According to Takehiko, he is
only enraged when she asks Tajomaru to
kill him, and according to Tajomaru,
Takehiko still loves her so much that he
duels for her love.
And lastly, Takehiko's account introduces the shadowy character

that takes the dagger from his chest just before he dies. In the
film version (Rashomon, 1950), the woodcutter steals the
dagger, but this is slightly inconsistent with his account of the
blood being already dried up at the scene. In Takehiko's account,
blood flowed up to his mouth as the dagger was released. In
both Takehiko and Masago's accounts, Tajomaru kicks Masago
down after the rape. Of course, Tajomaru admits only to the duel
that follows the rape because he wants to make a wife of
Masago.
In short, this story is tough to summarize because of its constant
refutations, even in seemingly insignificant details such as the
Kyōto-style headdress and the colors of the kimonos. One may
wonder how it could be possible to have such varied accounts of
the same incident - an incident in which the very real evidence
of a murdered man cannot be accounted for.
THE NOSE (AKUTAGAWA)
SUMMARY
Zenchi Naigu, the Chaplain of a Buddhist

temple, was endowed with unusually
large nose. This physical feature causes
him all sorts of difficulties in his daily life.
Most of all Zenchi is worried about being
a public spectacle. He attempts to avoid
using the word 'nose' because he is
frightened that this would bring attention
to his big nose, he takes all possible
measures that could help him to make his
nose appear smaller, and when he is
alone, the priest examines himself in the
mirror from all sides. In other words,
Zenchi's preoccupation with his nose
prevents him from studying scriptures
and other tasks required by his job.
One day one of the disciples, who are in charge of

helping Zenchi eat, travels abroad and meets
a Chinese doctor who claims to know of an effective
way to shorten a nose. When the disciple returns to
the temple, Zenchi pretends to not be interested in
the new Chinese method, when in fact he cannot
wait for the disciple to tell him of it. Eventually, he
gives in, and asks the disciple to reveal what he has
learned and to help him put it to practice. The
procedure consists of three steps. Firstly the disciple
needs to boil Zenchi's nose, then he has to stomp on
it, and lastly he needs to remove the fat that has
been extracted throughout the process.
The procedure is successful and Zenchi

ends up with a shorter nose. At first he is
excited, but soon he grows anxious, as he
notices that people are laughing at him to his
face, which is something that has not
happened before. Consequently, Zenchi
becomes bitter and harsh to those around him
up until the point, when the disciple, who has
previously helped him to shorten his nose,
tells him that he will be punished for his sin of
treating people badly instead of teaching the
word of Buddha.
Zenchi notices that ever since he has

undergone the procedure, he has become far
more unhappy than ever before. One
morning, he wakes up with a good feeling.
Everything seems nicer and better around
him. When he examines his face, Zenchi finds
out that his nose has grown back overnight.
PATRIOTISM
"Patriotism" is a short story
about the marriage of two
young Japanese people
whose passion for each other
is matched only by their
loyalty to their country and
its emperor. Yukio Mishima
follows their marriage
through the few months it
endured and locates their
personal experience within
the tumultuous political
events that occurred in Japan
in the 1930s.
Takeyama, a young military officer, has

married Reiko, who is fully committed to the
solemn responsibility of being an officer's wife.
They both are devoted to the emperor, keeping
his picture in a shrine in their home. She has
agreed to die with him if he must give his life for
their country. The young couple is passionately in
love, and Mishima emphasizes the depth of their
erotic attachment; sometimes, when Takeyama
arrives at home, they make love immediately,
before he even takes off his uniform.
The couple's ritual suicide takes place in the

aftermath of a failed coup attempt. In the actual
event, a treasonous cadre of more than a
thousand officers stormed multiple sites,
attacking the prime minister and other officials.
The aborted coup lasted four days before the
responsible parties were rounded up and
executed.
Takeyama was not one of the mutineers, but he had

to report for duty; meanwhile, Reiko (who had not
heard from him) hears on the radio that his unit
members have been denounced; his unit had
anticipated that he would remain loyal, so they had
kept him in the dark about their plans.
When he returns home, he is determined to do the
honorable thing and die rather than be forced to
attack the men he had commanded. Reiko agrees to
kill herself as well, and they carefully prepare for the
ritual: taking a bath, making love, and writing a note.
Takeyama kills himself first, performing the ritual
disemboweling with a knife, but Reiko must help him
slit his throat because he is too weak. She follows by
slitting her own throat.
SUMMARY
(COMPREHENSIVE GUIDE TO SHORT STORIES, CRITICAL
EDITION)
Early in the morning on February 26,1936, about fifteen

hundred officers and soldiers from the Japanese army’s
First Division attacked the homes of the prime minister and
other officials and occupied parts of central Tokyo. After
four days, the mutineers surrendered to loyal elements of
the army that were brought in to quell the uprising. Quick
trials and executions of the ringleaders brought an end to
the anarchy that had prevailed in the Japanese military
since 1931. “Patriotism” glorifies the ritual suicide of
Lieutenant Takeyama Shinji and his wife as he finds himself
torn between loyalty to his unit, which has sided with the
mutiny, and his loyalty to the emperor.
The marriage is as brief as it is passionate.

They make love at night and sometimes as
soon as Takeyama enters the house, still in his
muddy uniform. However, this passion is
depicted almost as a religious ritual, for even
in sexual release “their hearts were sober and
serious.” Each morning the lieutenant and his
wife stand at the house shrine and bow to a
tablet from Shinto’s most sacred shrine, Ise,
and a photograph of the emperor and his wife.
Takeyama is not directly involved in the plot
to...
In Japan, seppuku, or ritual suicide, has been a time-honored

means of escaping from capture or an irreconcilable conflict.
More widely known in its vulgar form as hara-kiri (literally, belly-
slitting) in the West, it is a painful way of dying meant to show
the courage and tenacity of a samurai even in the face of defeat.
Japanese culture does not have Christian prohibitions against
suicide, so such a death can be seen as honorable, even
admirable.
Only six months before the ill-fated mutiny, Takeyama married
his twenty-three-year-old bride, Reiko. They lived in a modest
house in Yotsuya, near central Tokyo. In Mishima’s story, a
fictionalized account of their double suicide, the young bride
makes a pledge on their wedding night to follow Takeyama in
death because she had become the wife of a soldier. She does
this silently by displaying a prized dagger that her mother had
given her.
SOURCES:
 https://takelessons.com/blog/japanese-
mythology-z05
 https://washburn.edu/reference/bridge2
4/Heike.html
 https://www.gradesaver.com/rashomon/
study-guide/summary-in-a-grove
 https://www.gradesaver.com/the-nose-
akutagawa/study-guide/summary
 https://www.kobejones.com.au/10-
japanese-philosophies-everyone-aware/

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ENG.

110: Survey of Afro-Asian Literature

To be acquaint of the

Japanese people integrate ancient philosophies into

Let’s take a look at 10 amazing Japanese philosophies that can provide

4. The concept of ‘nothingness’

5. The Way of Tea

6. 酔生夢死 ‘ Drunken life, dreamy death’

8. When you listen to somebody, listen to

9. 二兎を追う者は一兎をも得ず。 One who chases

2. The Sun, the Moon, and the Wind

Soon after, another brother tells the hare

5. The Japanese Legend of Emperor Jimmu

Kamo no Chomei (1153-1216) comes early in

The story told in the 800 pages of the book happens in 20

The tale divides roughly into three parts. The

The Tale has an epic sweep in being centered

A traveling Buddhist priest delivers the next

The next person to testify is a hōmen (a released

Kanazawa no Takehiko—a 26-year-old samurai

Originally, he had no intention of killing the

In a Penitent Confession, Masago gives her

The final account comes from Takehiko through a

At a quick glance, it is easy to see that the

"In a Grove,’’ is one of the most popular of

There are many discrepancies between the various

Masago omits any post-rape

And lastly, Takehiko's account introduces the shadowy character

Zenchi Naigu, the Chaplain of a Buddhist

One day one of the disciples, who are in charge of

The procedure is successful and Zenchi

Zenchi notices that ever since he has

Takeyama, a young military officer, has

The couple's ritual suicide takes place in the

Takeyama was not one of the mutineers, but he had

Early in the morning on February 26,1936, about fifteen

The marriage is as brief as it is passionate.

In Japan, seppuku, or ritual suicide, has been a time-honored

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