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Ebook ماه و تنهایی عاشقان by Ono no Komachi read! Book Title: ماه و تنهایی عاشقان
The author of the book: Ono no Komachi
Edition: موسسه‌ي انتشاراتي آهنگ ديگر
Date of issue: 2003
ISBN: No data
ISBN 13: No data
Language: English
Format files: PDF
The size of the: 320 KB
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Reader ratings: 7.2

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Japanese poetry is said to be originated in human heart and mind and grows in to the myriad leaves of words. The collection of poems The Ink Dark Moon is from the Heian era of Japanese literature, the era is considered as Golden Age in the history of Japanese literature. The language in that era was very inflected language- grammatical constructions are often contained within the words themselves, usually in their endings as in Latin, English on the other hand is partially inflected language so the linguistic structural differences in both the languages affect sound qualities- both within words and in the way sound functions in poetry.

In Japan's imperial Heian Court, female poets had a voice and could establish a reputation for themselves in literary circles. It was a culture that valued the art, the antithesis of present day America. Matters of the heart and spirit and the transient nature of time and existence are the dominant themes of this collection of love poems by two leading female literary figures of Japan's Heian era. Ono no Komachi and Izumi Shikibu lived in an age when (surprisingly) women authors were predominant figures, it is Japan’s Heian era which lasted till 1185 A.D.

During the Heian era, most of the poets endeavored to bring art to everyday communication but only a few truly excelled acquiring extraordinary prestige and charisma. Ono no Komachi became a subject of legend from the time of her death. Legends, folktales and songs add that Komachi was not only outstanding woman poet of her time but also the most beautiful and desirable of women. Ono no Komachi served at imperial court in the capital city of Heian-kyo (Kyoto nowadays), she had developed a form of poetry which is deeply subjective, passionate, and complex, helped to usher in a poetic age of philosophical and emotional depth.

Izumi Shikibu created her space in the poetic sphere of Japanese art during the time of the court culture’s greatest flowering; she married twice and was the lover of both Prince Tametaka and Prince Atsumichi, Tametaka’s brother. Her poems and correspondence, part of a tradition of court love poetry, frequently combine erotic and romantic longings with Buddhist contemplation. In her famous Diary, a mixture of poetry and prose, Shikibu recounts the beginning of their love, through the time when Astumichi persuaded her to move into his compound despite the unusually vigorous protestations and eventual departure of his primary wife. Later, after Astumichi’s death in an epidemic ended the central relationship of Shibiku’s life, during the period of mourning she wrote over 240 poems to her departed lover.

These two women, the first a pivotal figure who became legendary in Japanese literary history, the second Japan’s major woman poet, illuminated certain areas of human experience with a beauty, truthfulness, and compression unsurpassed in the literature of other age. Both authors were not only deeply passionate but also intensely religious; an inquiry in to the deeper questions of life runs through the core of each woman’s work. Influence of Buddhism could be clearly seen in the works of both woman authors, Buddhist view of existence as ceaseless change and return again and again to the question of what in our experience can be called real.

In the culture of Heian court, the ability to write poems of great beauty would in itself have been a major cause for being thought both personally attractive and desirable. The aesthetic sensibility, displayed by both authors, was major cause of establishing their distinction among the members of court, the subtle skills shown by both leading poets in mixing of incense, music, painting, dance, use of kimonos, and their poetry mattered greatly in their appeal as prospective official advancements and as romantic partners to princes. Although male authors composed a great part of their works in Chinese which served as the official form of communication in government and scholarly discourse in much the way that Latin functioned in European courts and centers of learning in the Middle ages; women, on the other hand, were only allowed to create literature near the end of eighth century during a time when an altogether different system is devised- in which Chinese characters were used phonetically to transcribe spoken Japanese. Women during that period got free from the shackles of male dominance and devoted themselves to develop their literary potential to the highest degree in the poems, diaries, and tales in which they recorded both the public and the most private and deeply felt aspects of their lives.

This entangling wind
Is just like
Last autumn’s gusts.
Only the dew of tears
On my sleeve is new.

The poetry of both authors in the collection is primarily concerned with human emotions- emotions in general like thoughts occur in one’s mind on observing natural world as such a nightingale singing among blossoms and air blowing through leaves, religion, the wild spirit present in human beings even after becoming ‘civilized and which human beings have been trying to tame since then; and most importantly the complex relationship between men and women is principal theme of the collection.

Ono no Komachi
Is this love reality
Or a dream?
I cannot know,
When both reality and dreams
Exist without truly existing.

Izumi Shikibu
In this world
Love has no color-
Yet how deeply my body
Is stained by yours.

The dewdrop
On a bamboo leaf
Stays longer
Than you, who vanish
At dawn.

I used up this body
For one who does not come.
A deep valley, now,
What once was my heart.

The pleasure one finds in reading these poems is discovering the way that, for both these woman authors, the metaphysics of religious teaching and the tumultuous course of the heart in love confirm a single truth, impermanence of being; their effort to accept and understand this unavoidable transience profoundly illuminates their work. The traces of anguish and angst towards life and the relationships of human beings are very evident in most of the poems from this collection- here poetry is filled with philosophical impressions, longings and desires of human nature in way that all this come out as a highly refined example of tragic beauty.

Ono no Komachi
It seems a time has come
When you’ve become like those horses
Wild with spring
Who long for distant fields
Where the light mists rise.

In this world
The living grow fewer,
The dead increase-
How much longer must I
Carry this body of grief?

Izumi Shikibu
Summer night,
A rap at the gate,
A rap at the door….
How hope answers
The water rail’s knock.
An answer
Through the years
I’ve become used to sorrow:
There was not one spring
I didn’t leave behind
The flowers.

Another answer
Do you not know
This world is a walking dream?
However much I once needed you,
That is also a fleeting thing…..

Overall, it is a sweet little experience which touched the chords of heart with the beauty possessed in the words and left the heart wounded from the tragedy hidden behind the charismatic arrangements of words and deep ridden in the heart of authors, the tinge of pain one feels after going through the leaves of the book left one wondering and contemplating about the lives and the circumstances in the lives of both the authors, and in effect left the reader unsatiated and longing to read/ know more about their lives. It’s a great collection and the fact, that these highly refined texts written by women during the era when society was highly patriarchal and misogynist- wherein the male dominance in art is nonchalantly challenged and even surpassed, makes it all the more greater. I would highly recommend this Vintage edition which has a very comprehensive introduction and quite an informative appendix to this collection.

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Read information about the author

Ebook ماه و تنهایی عاشقان read Online! Ono no Komachi (小野 小町?, c. 825 – c. 900) was a Japanese waka poet, one of the Rokkasen — the six best waka poets of the early Heian period. She was renowned for her unusual beauty, and Komachi is today a synonym for feminine beauty in Japan.[1] She also counts among the Thirty-six Poetry Immortals.

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