Yasunari Kawabata

Yasunari Kawabata [川端 康成 Kawabata Yasunari], (14 June 1899 - 16 April 1972) was a Japanese short story writer and novelist known for his spare, lyrical, and subtly-shaded prose. In 1968 he became the first Japanese writer to receive the Nobel Prize for Literature.

Sourced

• The "secret" of their being up in the tree had continued for almost two years now. Where the thick trunk branched out near the top, the two could sit comfortably. Michiko, straddling one branch, leaned back against another. There were days when little birds came and days when the wind sang through the pine needles. Although they weren't that high off the ground, these two little lovers felt as if they were in a completely different world, far away from the earth.
  • "Up in the Tree" [Ki-no Ue] (1962)

• Because you cannot see him, God is everywhere.
  • As quoted by John Cheever in Home Before Dark: A Personal Memoir of John Cheever by His Daughter (1985) by Susan Cheever

Snow Country (1948)

Snow Country『雪国』[Yukiguni] (1948) ISBN 0679761047

• 国境のトンネルを越えると雪国であった。夜の底が白くなった。
  • The train came out of the long border tunnel — and there was the snow country. The night had turned white.
    • First lines, as translated by Edward Seidensticker)

• In the depths of the mirror the evening landscape moved by, the mirror and the reflected figures like motion pictures superimposed one on the other. The figures and the background were unrelated, and yet the figures, transparent and intangible, and the background, dim in the gathering darkness, melted into a sort of symbolic world not of this world. Particularly when a light out in the mountains shone in the center of the girl's face, Shimamura felt his chest rise at the inexpressible beauty of it.

The Master of Go (1951)

Translated from the Japanese Meijin by Edward G. Seidensticker (1972), ISBN 0-399-50528-8

• From the way of Go, the beauty of Japan and the Orient had fled. Everything had become science and regulation. The road to advancement in rank, which controlled the life of a player, had become a meticulous point system. One conducted the battle only to win, and there was no margin for remembering the dignity and the fragrance of Go as an art.
  • Ch. 12, p. 52

• Maybe vagueness has been good for me. The word means two different things in Tokyo and Osaka, you know. In Tokyo it means stupidity, but in Osaka they talk about vagueness in a painting and in a game of Go.
  • Ch. 18, p. 76

• That play of black upon white, white upon black, has the intent and takes the form of creative art. It has in it a flow of the spirit and a harmony of music. Everything is lost when suddenly a false note is struck, or one party in a duet suddenly launches forth on an eccentric flight of his own. A masterpiece of a game can be ruined by insensitivity to the feelings of an adversary.
  • Ch. 38, p. 164

Japan, the Beautiful and Myself (1969)

Nobel lecture (12 December 1968) as translated in Nobel Lectures, Literature 1968-1980 (1993) Editor-in-Charge Tore Frängsmyr, Editor Sture Allén, World Scientific Publishing Co., Singapore

• Seeing the moon, he becomes the moon, the moon seen by him becomes him. He sinks into nature, becomes one with nature. The light of the "clear heart" of the priest, seated in the meditation hall in the darkness before the dawn, becomes for the dawn moon its own light.
  • On the poetry of Myōe and ideas of Saigyō Hōshi

• The winter moon becomes a companion, the heart of the priest, sunk in meditation upon religion and philosophy, there in the mountain hall, is engaged in a delicate interplay and exchange with the moon; and it is this of which the poet sings.

• Dr. Yashiro Yukio, internationally known as a scholar of Botticelli, a man of great learning in the art of the past and the present, of the East and the West, has summed up one of the special characteristics of Japanese art in a single poetic sentence: "The time of the snows, of the moon, of the blossoms — then more than ever we think of our comrades." When we see the beauty of the snow, when we see the beauty of the full moon, when we see the beauty of the cherries in bloom, when in short we brush against and are awakened by the beauty of the four seasons, it is then that we think most of those close to us, and want them to share the pleasure. The excitement of beauty calls forth strong fellow feelings, yearnings for companionship, and the word "comrade" can be taken to mean "human being". The snow, the moon, the blossoms, words expressive of the seasons as they move one into another, include in the Japanese tradition the beauty of mountains and rivers and grasses and trees, of all the myriad manifestations of nature, of human feelings as well.

• That spirit, that feeling for one's comrades in the snow, the moonlight, under the blossoms, is also basic to the tea ceremony. A tea ceremony is a coming together in feeling, a meeting of good comrades in a good season. I may say in passing, that to see my novel Thousand Cranes as an evocation of the formal and spiritual beauty of the tea ceremony is a misreading. It is a negative work, and expression of doubt about and warning against the vulgarity into which the tea ceremony has fallen.

• Ryokan, who shook off the modern vulgarity of his day, who was immersed in the elegance of earlier centuries, and whose poetry and calligraphy are much admired in Japan today — he lived in the spirit of these poems, a wanderer down country paths, a grass hut for shelter, rags for clothes, farmers to talk to. The profundity of religion and literature was not, for him, in the abstruse. He rather pursued literature and belief in the benign spirit summarized in the Buddhist phrase "a smiling face and gentle words". In his last poem he offered nothing as a legacy. He but hoped that after his death nature would remain beautiful. That could be his bequest.

• I have an essay with the title "Eyes in their Last Extremity".
  The title comes from the suicide note of the short-story writer Akutagawa Ryunosuke... It is the phrase that pulls at me with the greatest strength. Akutagawa said that he seemed to be gradually losing the animal something known as the strength to live, and continued:
  "I am living in a world of morbid nerves, clear and cold as ice... I do not know when I will summon up the resolve to kill myself. But nature is for me more beautiful than it has ever been before. I have no doubt that you will laugh at the contradiction, for here I love nature even when I am contemplating suicide. But nature is beautiful because it comes to my eyes in their last extremity."
  Akutagawa committed suicide in 1927, at the age of thirty-five.
  In my essay, "Eyes in their Last Extremity", I had to say: "How ever alienated one may be from the world, suicide is not a form of enlightenment. However admirable he may be, the man who commits suicide is far from the realm of the saint." I neither admire nor am in sympathy with suicide.

• "Among those who give thoughts to things, is there one who does not think of suicide?" With me was the knowledge that that fellow Ikkyu twice contemplated suicide. I have "that fellow", because the priest Ikkyu is known even to children as a most amusing person, and because anecdotes about his limitlessly eccentric behavior have come down to us in ample numbers. It is said of him that children climbed his knee to stroke his beard, that wild birds took feed from his hand. It would seem from all this that he was the ultimate in mindlessness, that he was an approachable and gentle sort of priest. As a matter of fact he was the most severe and profound of Zen priests. Said to have been the son of an emperor, he entered a temple at the age of six, and early showed his genius as a poetic prodigy. At the same time he was troubled with the deepest of doubts about religion and life. "If there is a god, let him help me. If there is none, let me throw myself to the bottom of the lake and become food for fishes." Leaving behind these words he sought to throw himself into a lake, but was held back. ... He gave his collected poetry the title "Collection of the Roiling Clouds", and himself used the expression "Roiling Clouds" as a pen name. In his collection and its successor are poems quite without parallel in the Chinese and especially the Zen poetry of the Japanese middle ages, erotic poems and poems about the secrets of the bedchamber that leave one in utter astonishment. He sought, by eating fish and drinking spirits and having commerce with women, to go beyond the rules and proscriptions of the Zen of his day, and to seek liberation from them, and thus, turning against established religious forms, he sought in the pursuit of Zen the revival and affirmation of the essence of life, of human existence, in a day civil war and moral collapse.

• I myself have two specimens of Ikkyu's calligraphy. One of them is a single line: "It is easy to enter the world of the Buddha, it is hard to enter the world of the devil." Much drawn to these words, I frequently make use of them when asked for a specimen of my own calligraphy. They can be read in any number of ways, as difficult as one chooses, but in that world of the devil added to the world of the Buddha, Ikkyu of Zen comes home to me with great immediacy. The fact that for an artist, seeking truth, good, and beauty, the fear and petition even as a prayer in those words about the world of the devil — the fact that it should be there apparent on the surface, hidden behind, perhaps speaks with the inevitability of fate. There can be no world of the Buddha without the world of the devil. And the world of the devil is the world difficult of entry. It is not for the weak of heart.

• "If you meet a Buddha, kill him. If you meet a patriarch of the law, kill him."
  This is a well-known Zen motto. If Buddhism is divided generally into the sects that believe in salvation by faith and those that believe in salvation by one's own efforts, then of course there must be such violent utterances in Zen, which insists upon salvation by one's own efforts. On the other side, the side of salvation by faith, Shinran, the founder of the Shin sect, once said: "The good shall be reborn in paradise, and how much more shall it be so with the bad." This view of things has something in common with Ikkyu's world of the Buddha and world of the devil, and yet at heart the two have their different inclinations. Shinran also said: "I shall not take a single disciple."
  "If you meet a Buddha, kill him. If you meet a patriarch of the law, kill him." "I shall not take a single disciple." In these two statements, perhaps, is the rigorous fate of art.

• The Zen disciple sits for long hours silent and motionless, with his eyes closed. Presently he enters a state of impassivity, free from all ideas and all thoughts. He departs from the self and enters the realm of nothingness. This is not the nothingness or the emptiness of the West. It is rather the reverse, a universe of the spirit in which everything communicates freely with everything, transcending bounds, limitless. There are of course masters of Zen, and the disciple is brought toward enlightenment by exchanging questions and answers with his master, and he studies the scriptures. The disciple must, however, always be lord of his own thoughts, and must attain enlightenment through his own efforts. And the emphasis is less upon reason and argument than upon intuition, immediate feeling. Enlightenment comes not from teaching but through the eye awakened inwardly. Truth is in "the discarding of words", it lies "outside words". And so we have the extreme of "silence like thunder", in the Vimalakirti Nirdesa Sutra.

• Ikenobo Sen'o, a master of flower arranging, once said (the remark is to be found in his Sayings): "With a spray of flowers, a bit of water, one evokes the vastness of rivers and mountains." The Japanese garden too, of course symbolizes the vastness of nature. The Western garden tends to be symmetrical, the Japanese garden asymmetrical, and this is because the asymmetrical has the greater power to symbolize multiplicity and vastness. The asymmetry, of course, rests upon a balance imposed by delicate sensibilities. Nothing is more complicated, varied, attentive to detail, than the Japanese art of landscape gardening. Thus there is the form called the dry landscape, composed entirely of rocks, in which the arrangement of stones gives expression to mountains and rivers that are not present, and even suggests the waves of the great ocean breaking in upon cliffs.

• The single flower contains more brightness than a hundred flowers. The great sixteenth-century master of the tea ceremony and flower arranging, Rikyu, taught that it was wrong to use fully opened flowers. Even in the tea ceremony today the general practice is to have in the alcove of the tea room but a single flower, and that a flower in bud. In winter a special flower of winter, let us say a camellia, bearing some such name as White Jewel or Wabisuke, which might be translated literally as "Helpmate in Solitude", is chosen, a camellia remarkable among camellias for its whiteness and the smallness of its blossoms; and but a single bud is set out in the alcove. White is the cleanest of colors, it contains in itself all the other colors. And there must always be dew on the bud. The bud is moistened with a few drops of water.

• Among flower vases, the ware that is given the highest rank is old Iga, from the sixteenth and seventeenth centuries, and it commands the highest price. When old Iga has been dampened, its colors and its glow take on a beauty such as to awaken on afresh. Iga was fired at very high temperatures. The straw ash and the smoke from the fuel fell and flowed against the surface, and as the temperature dropped, became a sort of glaze. Because the colors were not fabricated but were rather the result of nature at work in the kiln, color patterns emerged in such varieties as to be called quirks and freaks of the kiln. The rough, austere, strong surfaces of old Iga take on a voluptuous glow when dampened. It breathes to the rhythm of the dew of the flowers.

• Ikenobo Sen'o remarked on another occasion (this too is in his Sayings) that "the mountains and strands should appear in their own forms". Bringing a new spirit into his school of flower arranging, therefore, he found "flowers" in broken vessels and withered branches, and in them too the enlightenment that comes from flowers. "The ancients arranged flowers and pursued enlightenment." Here we see awakening to the heart of the Japanese spirit, under the influence of Zen. And in it too, perhaps, is the heart of a man living in the devastation of long civil wars.

• Wistaria sprays, as they trail in the breeze, suggest softness, gentleness, reticence. Disappearing and then appearing again in the early summer greenery, they have in them that feeling for the poignant beauty of things long characterized by the Japanese as mono no aware.

• The Tale of Genji in particular is the highest pinnacle of Japanese literature. Even down to our day there has not been a piece of fiction to compare with it. That such a modern work should have been written in the eleventh century is a miracle, and as a miracle the work is widely known abroad.

• Myōe exchanged poems with Saigyo and the two discussed poetry together. The following is from the biography of Myoe by his disciple Kikai: "Saigyo frequently came and talked of poetry. His own attitude towards poetry, he said, was far from the ordinary. Cherry blossoms, the cuckoo, the moon, snow: confronted with all the manifold forms of nature, his eyes and his ears were filled with emptiness. And were not all the words that came forth true words? When he sang of the blossoms the blossoms were not on his mind, when he sang of the moon he did not think of the moon. As the occasion presented itself, as the urge arose, he wrote poetry. The red rainbow across the sky was as the sky taking on color. The white sunlight was as the sky growing bright. Yet the empty sky, by its nature, was not something to become bright. It was not something to take on color. With a spirit like the empty sky he gives color to all the manifold scenes but not a trace remained. In such poetry was the Buddha, the manifestation of the ultimate truth."
  Here we have the emptiness, the nothingness, of the Orient. My own works have been described as works of emptiness, but it is not to be taken for the nihilism of the West. The spiritual foundation would seem to be quite different. Dogen entitled his poem about the seasons, "Innate Reality", and even as he sang of the beauty of the seasons he was deeply immersed in Zen.