Analysis Of Motokiyo Motokiyo 's The Priest And Grass Cutters

Daly Walker has written a story about a doctor who is haunted by the shame and guilt he carries with him from the atrocious acts he committed while serving in the army; acts so horrible that he cannot speak of them. The story depends on his use of three literary elements: setting, plot and symbolism.

In Larissa Macfarquhar’s book, Strangers Drowning, she provides character studies of various real-life extreme do-gooders and of some could be considered moral saints. One of them is a Buddhist monk, Nemoto, who dedicates his life to a cause of helping people who want to commit suicide. He is a moral saint in the sense that he draws no barrier for when this work ends and begins. He works tirelessly by taking on the suffering of these individuals he is trying to help, taking calls any hour of the day or night, and helping anyone who wants it. He learns a very important aspect that actually changes the empathy he feels into a separation of himself an the other. In order for him to help, and truly help, he needed to stop empathizing so much and start sympathizing with emotional distance from the other. This is a similar concept in the Bodhisattva method because while empathy breaks a barrier between ‘self’ and an ‘other’, it makes working for their benefit nearly impossible. The

Marc Rosenbush’s film, Zen Noir (2004), is at first glance a film thoroughly ensconced in the themes of Zen Buddhism. Set in a dark and brooding film noir atmosphere, the film depicts the story of a deeply troubled detective, at the end of his rope, who finds himself at a Zen monastery in order to solve a murder. But once there, he realizes that things are not quite what they seem to be. As the film unfolds, we find that the world Rosenbush has created for us is wildly symbolic, and it becomes clear that the monastery is a symbol of the detective’s psyche and that he was not investigating a murder, but his own fear of death and loss. If this introspective, psychological element of the film is recognized, the Buddhist themes of the film become conflated with allegories of navigating the Western psyche. It is the contention of this paper that when the psychological themes of this film are investigated, we will find that the alleged Buddhist theme of enlightenment in the film must compete with a symbolic depiction of Jungian individuation.

In “The Mower Against Gardens,” Andrew Marvell uses a conceit to liken the plants in an English garden to the women of a brothel, exemplifying the theme of man’s perversion of nature. Three main metaphors are used, the first being mankind as the brothel owner. The second metaphor is the flowers as prostitutes, and the final metaphor is the flowers’ offspring as abandoned children.

Originating in north - eastern India, the Buddhist tradition has grown to be popular and an intellectually complex religion. With a unique culture, this differentiates Buddhism from other religions. The complexity of Buddhism influenced by Buddhist schools changes an individual 's perspective and attitudes. Interpretation of the stimulus will vary from a Theravada to a Mahayana Buddhist as their core beliefs of Buddhism differ from each other. This essay will analyse the views of a Mahayana and Theravada Buddhist towards the cartoon drawn by an Australian cartoonist and artist, Michael Leunig. While also examining the stimulus’s association towards The First Noble Truth, The Fourth Noble Truth and Eightfold path, Buddhist beliefs and The Five Aggregates; matter, sensation, perception, mental formation and consciousness.

In its 63 years of existence (1892 to 1954), the Federal Immigration Station on Ellis Island processed over 12 million immigrants from many different countries. Out of all the different countries Ireland, Italy, and Germany were the three countries most represented at Ellis Island. Out of these 12 million immigrants 4.5 million were Italians who came through Ellis Island between 1892 and 1900. Then in the years 1900 to 1914, the number increased to 5 million. Currently, about 25 million Americans trace their ancestry to Italy and in todays culture are very accomplished in many ways. This wasn’t always the case however, Italians faced many issues in both Italy as well as in the United States. Some of these issues are highlighted in both

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

When reading a Record of Buddhist Kingdoms, by Fa-hsien I recognized a recurring theme. Fa-hsiens travels, through different kingdoms provides the reader with insight on the life and teachings of Buddha, and the tenets of the religion he founded. Although I recognized many themes, I will reflect on three that I found insightful, and inspiring. They are self-denial, Kindness to strangers, and sacrifice.

Koan, literally meaning “public cases” is one of the most familiar and distinctive elements of Zen Buddhism. It refers to mysterious and often shocking spiritual expressions, most cases in forms of riddles, based on encounters between masters and disciples of the tradition used as “pedagogical tools for religious training in the Zen (Ch’an) Buddhist tradition” (Wright 3). Most classic koans are derived from the T’ang dynasty China. Kung-an, the Chinese pronunciation of koan, is a case which establishes a

The author, Shayne Clarke opposes the Lee Siegel, Michel Clasquin and Bernard Faure’s claim that ‘humor is discernible in canonical Indian Buddhist texts, particularly in the monastic law codes’. Clarke also suggests that the humors are narrative in four passages –the first passage; 6 monks’ munching on monkey meat which has two versions, second passage; nuns’ love charms, third passage; monks’ babysitting, and finally, nuns and their adult toys that makes them far more memorable and arguably. These passages are effective than their non-humorous counterparts. He concludes the article by acceptance of the existence of intentional humor in the narratives of the monastic law codes is dependent on whether they are thought of as accurate historical

Like many other morality- allegorical plays, Everyman, fits in as the finest representative of this category. This morality play reflects on the reaction of mankind when faced with the dilemma of eternity. In the play, God sends Death to summon Everyman- a representation all mankind. It is

Matsukaze is one of the most popular Noh plays of the third category, originally written by Kan’ami and revised by Zeami Mototkiyo. Matsukaze tells the story of two lingering sister spirits, Matsukaze, which means Pine Wind, and Murasame, which means Autumn Rain. The play begins with a traveling priest asking about the memorial for the girls and we soon learn all about their life story. As with other Ancient Japanese Noh theatre, this play shows us one prevailing emotion throughout the text. The most noticeable emotion found in the text of Matsukaze is the overwhelming sense of melancholy. Through text and Japanese Noh conventions, I can convey the emotion of melancholy in Matsukaze.

Atsumori is definitely a type of Noh drama. In categorizing the type of Noh play, I think that the play, Atsumori, would be under the category of warrior play. I feel like this play just fits the criteria for a warrior play because the historical background started from a battle between two clans. Also, this play is mainly about two former warriors. This play is heavily based on suffering and Buddhism as well. I assume that Rensei becoming a monk majorly gives out the clue of Buddhism. I think the overall theme of this play would be forgiveness and kindness. I do not think this was a happy play at all. It seems very regretful for me. I am even imaging the chorus singing or playing the instruments in a sad melody throughout the play as well.

Each of the characters in “The Monkey and the Monk,” represent an important trait or idea of buddhism, and this novel can be used as a basic representation for buddhist ideas. Either the strengths, weaknesses, or backgrounds of each character can be analyzed and applied to traditional buddhist

Buddhism does not regard ethics as a particular set of duties, rights, imperatives or obligations that should be used to evaluate the actions of a person. Instead, Buddhism views as the “accumulated wisdom” that one acquires in the areas of life and that are related to the fundamental problem that every person encounters—suffering (Voorst 2007; Becker & Becker, 2013). This paper will attempt to argue that the four noble truths are the basis onto which Buddhist ethics are founded; therefore, understanding the truths reveals the prominent elements of Buddhist ethical concerns.