For your second blog post, I would like you to focus on character development.
Begin by determining the overall point of the play as you understand it, developing a statement of the point in the manner that we practiced in class and in Blog Prompt #1. In particular, you’ll want to think about the values and attitudes that the author expresses or condones in the play as a whole. This statement should serve as the first sentence of your post (there is no need to summarize the plot… you should assume your audience has already read the play).
Next, choose a character from the play; you can choose a major or a minor character. Consider the values, attitudes, and actions this character emblematizes or condones over the course of the play. Now, think about how those values, attitudes, and actions overlap or contradict those that the author expresses in the play as a whole. It may be helpful to consider the character and the author as elements of a venn diagram; where do they overlap? Where do they diverge? Why is this significant? Your answer to these questions will comprise the thesis statement of your post.
Finally, choose a short passage (ideally 10-15 lines) that strike you as crucial to understanding this character. The lines can be a speech or dialogue between your character and another. Note how this passage supports the argument you made in your thesis statement. Further, how does the author make it clear what values and attitudes belong to the character only and which ones are condoned more subtly by the author in the play as a whole?
Tuesday, January 28, 2014
Activity: Matsukaze
1. As the introduction notes in passing, the point of Matsukaze does not revolve around the linear, cause-and-effect narrative we are used to in Western drama, but rather the interaction of symbols, many of which can seem cryptic to modern Western readers. For each of the following symbols, begin by working with your group to brainstorm a list of at least six words, images, or concepts that you associate with the word. Next, work together to do some web research about what these symbols might be mean in Japanese culture, particularly within the context of Matsukaze:
pine
the moon
the sea (including brine / salt)
Next, return to the text of the play and consider which symbols are associated with which character(s). Do you see any further potential meaning in the ways in which these symbols are applied or the ways in which they interact in the play? Find passages to support your answers.
2. What do you think the reader is ultimately supposed to think about Masukaze’s longing? How are we supposed to react to her as a character? How does the play work similarly or differently from the Greek tragedies we have examined in class so far, particularly in regards to those plays’ central moment of catharsis?
3. Collaborate with your group members to compose a statement of the point of Matsukaze.
pine
the moon
the sea (including brine / salt)
Next, return to the text of the play and consider which symbols are associated with which character(s). Do you see any further potential meaning in the ways in which these symbols are applied or the ways in which they interact in the play? Find passages to support your answers.
2. What do you think the reader is ultimately supposed to think about Masukaze’s longing? How are we supposed to react to her as a character? How does the play work similarly or differently from the Greek tragedies we have examined in class so far, particularly in regards to those plays’ central moment of catharsis?
3. Collaborate with your group members to compose a statement of the point of Matsukaze.
Monday, January 27, 2014
Feeling Pain Through Matsukaze
According to the text, the Japanese texts revolve around the feelings of the cast and their experiences during moments of emotion, and Matsukaze incorporates these as expected. The plot follows a woman named Matsukaze as she experiences the pain of great loss. Now, many of us will experience heartbreak like we see Matsukaze go through during this writing, but it's interesting to see the way the author decides to frame these feelings.
Classical Japanese drama evolved into a very formulaic entity, with plots that usually focused on one of five different entities. These include plays praising the gods, plays about warriors, plays about women, plays about madness or spirits, and plays about demons according to our text. Now, many people may think that because a woman portrays the main character that Matsukaze's classification falls under the plays about women category, however, I believe it's classified as a play about demons.
Throughout the play, the characters complain about how life has lost its meaning without their beloved Yukihira. They speak of their agony multiple times, and even say in line 250 "Our sin is deep, O priest. / Pray for us we beg of you!" Their love for the man obviously troubles them so much that they find it a religious issue that someone could cast away from them.
Also we see, beginning in line 286, Matsukaze take the symbol of this man they once loved and put it on herself even though she knows it isn't the right thing to do. The text says:
I hung all my hopes
On living in the same world with him,
But being here makes no sense at all
And these keepsakes are nothing.
I drop it, but I cannot let it lie;
So I take it up again
To see his face before me yet once more.
"Awake or asleep,
From my pillow, from the foot of my bed,
Love rushes in upon me."
Helplessly I sink down
Weeping in agony
And after this soliloquy of sorts she then gets thrown into a climatic fit of madness, referred to by the chorus as a "gale howling through the pines" in line 348.
All of this behavior implies demonic possession, at least by today's standards. She treats the clothing of her lover as holy and she acts strangely when she wears it, along with crying out to a priest to cleanse her of her sin that's become such a thorn in her side. The author portrays all of these behaviors relating to Matsukaze's love for Yukihira in a bad light, leading us to arrive at the point that this love is a sin.
According to the author, the heartbreak that comes from love is just too much to bear and causes people to break into demonic states of unrest. Because of the relationship between love and demons nobody should fall in love by any circumstances.
Classical Japanese drama evolved into a very formulaic entity, with plots that usually focused on one of five different entities. These include plays praising the gods, plays about warriors, plays about women, plays about madness or spirits, and plays about demons according to our text. Now, many people may think that because a woman portrays the main character that Matsukaze's classification falls under the plays about women category, however, I believe it's classified as a play about demons.
Throughout the play, the characters complain about how life has lost its meaning without their beloved Yukihira. They speak of their agony multiple times, and even say in line 250 "Our sin is deep, O priest. / Pray for us we beg of you!" Their love for the man obviously troubles them so much that they find it a religious issue that someone could cast away from them.
Also we see, beginning in line 286, Matsukaze take the symbol of this man they once loved and put it on herself even though she knows it isn't the right thing to do. The text says:
I hung all my hopes
On living in the same world with him,
But being here makes no sense at all
And these keepsakes are nothing.
I drop it, but I cannot let it lie;
So I take it up again
To see his face before me yet once more.
"Awake or asleep,
From my pillow, from the foot of my bed,
Love rushes in upon me."
Helplessly I sink down
Weeping in agony
And after this soliloquy of sorts she then gets thrown into a climatic fit of madness, referred to by the chorus as a "gale howling through the pines" in line 348.
All of this behavior implies demonic possession, at least by today's standards. She treats the clothing of her lover as holy and she acts strangely when she wears it, along with crying out to a priest to cleanse her of her sin that's become such a thorn in her side. The author portrays all of these behaviors relating to Matsukaze's love for Yukihira in a bad light, leading us to arrive at the point that this love is a sin.
According to the author, the heartbreak that comes from love is just too much to bear and causes people to break into demonic states of unrest. Because of the relationship between love and demons nobody should fall in love by any circumstances.
Blog Post: Matsukaze
Due to the shortness of this piece I read it twice over looking for a point that would personally satisfy me. The difficulty in this goal is that this play is not like any other plays I have read before. The dialogue is poetic and not blunt while the story is very brief and open ended. Having said that, if I were to construct a point it would be, "While our emotions may provoke wishful thinking, our intellect encourages moving on from traumatizing events." I think Murasame and Matsukaze represent the two different sides of a person's thoughts. They are one, yet they are split due to their extreme differences. Murasame being the logical point of view that remains calm throughout the play (the intellect). Matsukaze being the emotional/sentimental perspective that is more impulsive and dramatic.
Lines 295-315
Matsukaze- Love rushes upon me. Helplessly I sink down, weeping in agony.
The River of Three Fords has gloomy shallows of never-ending tear; I found, even there, an abyss of wildest love. Oh joy! Look! Over there! Yukihara has returned! He calls me by name, Pine Wind. I am coming.
Murasame- For shame! For such thoughts as these you are lost in the sin of passion. All the delusions that you held in life---- none forgotten! That is a pine tree and Yukihira is not here.
Matsukaze- You are talking nonsense! This pine is Yukihira!
2 or 3 key words:
Nonsense- Ironic word used by Matsukaze when Murasame claims the tree is not Yukihara. The irony is derived from the fact that Matsukaze is being nonsensical in this moment. The translator chose this word to illustrate how our feelings can blur reality. Despite Murasame's skepticism, Matsukaze still retains the idea that this pine tree is her old lover.
Passion- Murasame says that Matsukaze is lost "in the sin of passion." Passion is a commonplace word with deep implications. The passionate love that causes Matsukaze to never lose hope corrupts her grip on reality. This passion endures through time and circumstances which in some contexts may be beneficial, but in this scenario this passion has driven Matsukaze mad.
Delusions- Murasame says, "all the delusions that you held in life---- none forgotten!" This emphatic line indicates that Matsukaze has held on to these beliefs for quite some time (even in human existence for these two women are only ghosts). Note that even though these "delusions" have lingered even in the afterlife with no substantiation, Matsukaze still maintains unwavering hope by ignoring how thinks actually are.
My view on the point based off this one scene:
I see that our emotions truly can overpower our decisions. The play is titled Matsukaze and it's no accident. Matsukaze remains in control throughout the play (and this scene), and that is most likely why the spirits still linger at the bay of Suma. The delusion of the tree being Yukihira emphasizes the point, and the delusion of the tree further shows that our emotions not only provoke wishful thinking, but also can blind us for extensive periods of time.
Lines 295-315
Matsukaze- Love rushes upon me. Helplessly I sink down, weeping in agony.
The River of Three Fords has gloomy shallows of never-ending tear; I found, even there, an abyss of wildest love. Oh joy! Look! Over there! Yukihara has returned! He calls me by name, Pine Wind. I am coming.
Murasame- For shame! For such thoughts as these you are lost in the sin of passion. All the delusions that you held in life---- none forgotten! That is a pine tree and Yukihira is not here.
Matsukaze- You are talking nonsense! This pine is Yukihira!
2 or 3 key words:
Nonsense- Ironic word used by Matsukaze when Murasame claims the tree is not Yukihara. The irony is derived from the fact that Matsukaze is being nonsensical in this moment. The translator chose this word to illustrate how our feelings can blur reality. Despite Murasame's skepticism, Matsukaze still retains the idea that this pine tree is her old lover.
Passion- Murasame says that Matsukaze is lost "in the sin of passion." Passion is a commonplace word with deep implications. The passionate love that causes Matsukaze to never lose hope corrupts her grip on reality. This passion endures through time and circumstances which in some contexts may be beneficial, but in this scenario this passion has driven Matsukaze mad.
Delusions- Murasame says, "all the delusions that you held in life---- none forgotten!" This emphatic line indicates that Matsukaze has held on to these beliefs for quite some time (even in human existence for these two women are only ghosts). Note that even though these "delusions" have lingered even in the afterlife with no substantiation, Matsukaze still maintains unwavering hope by ignoring how thinks actually are.
My view on the point based off this one scene:
I see that our emotions truly can overpower our decisions. The play is titled Matsukaze and it's no accident. Matsukaze remains in control throughout the play (and this scene), and that is most likely why the spirits still linger at the bay of Suma. The delusion of the tree being Yukihira emphasizes the point, and the delusion of the tree further shows that our emotions not only provoke wishful thinking, but also can blind us for extensive periods of time.
Matsukaze Post
The point of the play Matsukaze was to express the power of everlasting love on the mind and soul. In the play two fisher girls, Matsukaze and Murasame, were hopelessly abandoned by the love of their lives, Yukihira. The girls became infatuated with Yukihira when he was sent to Suma Bay out of exile. When at last he was allowed to return to the capitol he left the two girls heartbroken and hopeless. Later on when Matsukaze and Murasame learned of his death in the capitol they mourn for him until their own passing away. As the two girls reveal themselves to the priest as the ghosts of Matsukaze and Murasame the audience learns the two fisher girls continue to “pine”, long for, Yukihira even in the afterlife, to the point where Matsukaze even hallucinates seeing him. Lines 303-324 illustrate the two girls longing for the return of Yukihira as Matsukaze has a hallucination of him.
Matsukaze: Oh joy! Look! Over there! Yukihira has returned! He calls me by my name, Pine Wind! I am coming!
Murasame: For shame! For such thoughts as these you are lost in the sin of passion. All the delusions that held you in life, none forgotten! That is a pine tree. And Yukihira is not here.
Matsukaze: You are talking nonsense! This is Yukihira! “Though we may part for a time, if I hear you are pining for me, I’ll hurry back.” Have you forgotten those words he wrote?
Murasame: Yes, I had forgotten! He said, “Though we may part for a time, if you pine, I will return to you.”
Matsukaze: I have not forgotten. And I will wait for the pine wind to whisper word of his coming.
This passage best shows how greatly Matsukaze and Murasame long for Yukihira. The fact that Matsukaze has visions of seeing Yukihira easily displays the lust she maintains for him. Another notable part of the quote is when both girls repeat the words of Yukihira telling them that he will return to them if the pine for him. Both girls reciting the quote from Yukihira greatly enhances the sense of attachment they both still have for him.
The point of this drama is that strong love and emotional attachment carries on into the afterlife exemplifying the phrase everlasting love. Since the love Matsukaze and Murasame have for Yukihira may have led to their tragic deaths, and the woe for Yukihira carried on into their afterlives, the author was trying to convey that not all love and obsession for someone is healthy. The hopeless love the two girls have will leave them eternally full of woe and grief as their lover will never return.
Matsukaze: Oh joy! Look! Over there! Yukihira has returned! He calls me by my name, Pine Wind! I am coming!
Murasame: For shame! For such thoughts as these you are lost in the sin of passion. All the delusions that held you in life, none forgotten! That is a pine tree. And Yukihira is not here.
Matsukaze: You are talking nonsense! This is Yukihira! “Though we may part for a time, if I hear you are pining for me, I’ll hurry back.” Have you forgotten those words he wrote?
Murasame: Yes, I had forgotten! He said, “Though we may part for a time, if you pine, I will return to you.”
Matsukaze: I have not forgotten. And I will wait for the pine wind to whisper word of his coming.
This passage best shows how greatly Matsukaze and Murasame long for Yukihira. The fact that Matsukaze has visions of seeing Yukihira easily displays the lust she maintains for him. Another notable part of the quote is when both girls repeat the words of Yukihira telling them that he will return to them if the pine for him. Both girls reciting the quote from Yukihira greatly enhances the sense of attachment they both still have for him.
The point of this drama is that strong love and emotional attachment carries on into the afterlife exemplifying the phrase everlasting love. Since the love Matsukaze and Murasame have for Yukihira may have led to their tragic deaths, and the woe for Yukihira carried on into their afterlives, the author was trying to convey that not all love and obsession for someone is healthy. The hopeless love the two girls have will leave them eternally full of woe and grief as their lover will never return.
Blog Post One: Matsukaze
As demonstrated by the short play Matsukaze, sometimes it is
better to let go and move on rather than hold onto someone who has passed away.
In our society today, following the death of a loved individual, there is a
time for mourning, but after a period of time, individuals generally transition
into a time for healing and moving forward in their own lives. This is not the
case for Matsukaze and Murasame. Upon Yukihira’s death, the two sisters become
ghost fisherman that long to be reunited with Yukihira. In a sense, honoring
the death of a loved one is respected, but in the case of Murasame and
Matsukaze, their undying devotion to Yukihira goes beyond the point of grief. The
point is clearly exemplified in lines 313 through 329.
Matsukaze: You are talking nonsense! This pine is Yukihira!
“Though we may part for a time, If I hear you are pining for me, I’ll hurry
back.” Have you forgotten those words he wrote?
Murasame: Yes, I had forgotten! He said, “Though we may part for
a time, If you pine, I will return to you.”
Matsukaze: I have not forgotten. And I wait for the pine wind to
whisper word of his coming.
Murasame: If that word should ever come, my sleeves for a while
would be wet with autumn rain.
Matsukaze: So we await him. He will come, constant ever, green
as a pine.
Based on the entirety of the play, it is my belief that these
lines best exemplify the sister’s mourning. By using the word pine multiple
times, the reader is able to gain a clear picture of the sisters longing for
Yukihira. In this case, the word pines connotes an obsession, which is further
supported in the ensuing lines. Because they do not move on in their own lives,
they cause themselves more pain and suffering. Secondly, the use of the word “await”
in the final line of the passage shows how Matsukaze will wait for Yukihira no
matter the circumstances. This undying devotion demonstrated by the sisters eventually
becomes their downfall in that they could have lived normal lives in the mortal
world, but instead chose to pine for Yukihira and eventually become ghosts. Based
on the words “pine” and “await” the translator creates a sense of an intense obsession
rather than a love for an individual.
While the sisters clearly demonstrate their everlasting devotion
to Yukihira, this proves to be their biggest weakness. In conclusion, based on
the passage selected, Kiyotsugu demonstrates to the reader that this level of
devotion is not healthy for any one involved. As the sisters continue to pine
after Yukihira, they further prove the “point” of the play that letting go and
moving on is the most beneficial course of action.
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