Ratna Kurniasari, Tri. 2015. Falling Sakura: Death and Its Seeds of Wisdom in
Yasunari Kawabata’s Selected Short Stories. Yogyakarta: Graduate Program on English Language Studies, Sanata Dharma University.
Borrowing the analogy ofsakura’s falling and blooming to represent the
entangled relationship between death and life that is inspired from Zen Buddhism teachings, this study aims to reveal the unique portraits of death in generating the seeds of wisdom in life as seen in Yasunari Kawabata’s selected short stories. Those short stories are“Canaries”, “Love Suicides”, “Mother”, “Makeup”, “Death Mask”, “Tabi” and “Immortality” which are taken from Kawabata’s Palm of the Hand Stories(1988). Further, those short stories are chosen based on the presence of death in the stories which later generates the seeds of wisdom in life.
The study focuses on two problems. The first is ‘How is death portrayed in Yasunari Kawabata’s selected short stories?’. The second is ‘How do those
portraits of death generate seeds of wisdom in life as seen in the works under
study?’
This study used literary hermeneutics due to its role as a facilitator in creating an equal dialogic interaction between the readers as the active producers of meaning and Kawabata’s selected writings that voice its meaning. Besides, its
aim in having the sense of openness ‘to experience’ the life experience through
the reflection of imaginative universe found inKawabata’s selected writingscould be used in gaining satori or enlightenment. In dealing with its use in this study, some background information related to Kawabata’s selected writings was discussed. They were the history of modern Japanese literature, Yasunari
Kawabata’s life and works, the development of Zen Buddhism and its influence
towards Japanese literature and also the Japanese notion about death wrapped in Zen Buddhism teachings. Later, it is hoped that the use of hermeneutics in this study will be beneficial in gainingsatori or spiritual enlightenment as it is aimed by Kawabata through his writings.
From the analysis, there are two things that can be drawn. First, death is
portrayed differently in Yasunari Kawabata’s writings. In this study, death is depicted positively due to the influence of Zen Buddhism teachings that regard death as another form of life. Hence, death is portrayed as life presentation, life preservation, final redemption and total liberation. Second, the positive portraits of death generate the seeds of wisdom in life which can make life becomes more meaningful and beautiful due to its brevity. Those seeds of wisdom are related to genuine acceptance, eternal peacefulness, self purification and personal wholeness.
Ratna Kurniasari, Tri. 2015. Falling Sakura: Death and Its Seeds of Wisdom in
Yasunari Kawabata’s Selected Short Stories.Yogyakarta: Program Pasca Sarjana Kajian Bahasa Inggris, Universitas Sanata Dharma.
Dengan meminjam analogi bunga sakura yang jatuh dan mekar untuk mewakili hubungan erat antara kematian dan kehidupan yang terinspirasi dari ajaran Zen Buddhisme, studi ini bertujuan untuk mengungkap gambaran unik kematian dalam memunculkan benih-benih kebijaksanaan seperti yang terlihat dalam cerita-cerita pendek Yasunari Kawabata. Cerita-cerita tersebut meliputi “Canaries”, “Love Suicides”, “Mother”, “Makeup”, “Death Mask”, “Tabi” and “Immortality”yang diambil dari karya Kawabata yang berjudul Palm of the Hand Stories (1988). Selanjutnya, cerita-cerita tersebut dipilih berdasarkan kehadiran kematian didalamnya yang kemudian memunculkan benih-benih kebijaksanaan dalam kehidupan.
Studi ini menitikberatkan pada dua permasalahan. Yang pertama adalah “Bagaimana kematian digambarkan dalam cerita-cerita pendek terpilih Yasunari Kawabata?’. Yang kedua adalah ‘Bagaimana gambaran-gambaran kematian itu memunculkan benih-benih kebijaksanaan seperti dalam karya-karya yang diteliti?’.
Studi ini menggunakan hermeneutika sastra terkait dengan peranannya sebagai fasilitator dalam menciptakan interaksi dialogis yang setara antara para pembaca sebagai produsen aktif makna dan karya-karya terpilih Kawabata yang menyuarakan maknanya. Selain itu, tujuan hermeneutika yang memiliki rasa keterbukaan 'untuk mengalami' pengalaman hidup melalui refleksi imajinatif alam semesta yang ditemukan dalam karya itu sendiri dapat digunakan dalam memperoleh satori atau pencerahan spiritual. Terkait dengan penggunaan hermeneutika dalam penelitian ini, beberapa latar belakang informasi mengenai karya-karya Kawabata perlu disertakan, diantaranya meliputi sejarah sastra Jepang modern, kehidupan Yasunari Kawabata dan karya-karyanya, perkembangan Zen Buddhisme dan pengaruhnya terhadap sastra Jepang dan juga gagasan Jepang tentang kematian yang dibungkus oleh ajaran Zen Buddhisme. Nantinya diharapkan bahwa penggunaan hermeneutika dalam penelitian ini akan bermanfaat dalam memperoleh satori atau pencerahan spiritual seperti yang ditujukan oleh Kawabata melalui tulisan-tulisannya.
Dari hasil analisis, ada dua hal yang dapat ditarik. Pertama, kematian digambarkan secara berbeda dalam tulisan-tulisan Yasunari Kawabata. Dalam penelitian ini, kematian digambarkan secara positif karena pengaruh dari ajaran Zen Buddhisme yang menganggap kematian sebagai bentuk lain dari kehidupan. Karenanya, kematian digambarkan sebagai penyajian hidup, pelestarian hidup, penebusan akhir dan pembebasan total. Kedua, gambaran-gambaran positif kematian mampu memunculkan benih-benih kebijaksanaan dalam hidup yang bisa membuat hidup menjadi lebih bermakna dan indah karena kesingkatannya. Benih-benih kebijaksanaan tersebut dikaitkan dengan penerimaan yang tulus, kedamaian abadi, pemurnian diri dan keutuhan pribadi.
Death and Its Seeds of Wisdom
in Yasunari Kawabata’s
Selected Short Stories
A THESIS
Presented as a Partial Fulfillment of the Requirements to Obtain theMagister Humaniora (M.Hum)Degree
in English Language Studies
by
Tri Ratna Kurniasari Student Number: 106332004
THE GRADUATE PROGRAM IN ENGLISH LANGUAGE STUDIES SANATA DHARMA UNIVERSITY
Death and Its Seeds of Wisdom
in Yasunari Kawabata’s Selected Short Stories
A THESIS
Presented as a Partial Fulfillment of the Requirements to Obtain theMagister Humaniora (M.Hum)Degree
in English Language Studies
by
Tri Ratna Kurniasari Student Number: 106332004
THE GRADUATE PROGRAM IN ENGLISH LANGUAGE STUDIES SANATA DHARMA UNIVERSITY
A THESIS
FALLING SAKURA:
DEATH AND ITS SEEDS OF WISDOM
IN YASUNARI KAWABATA’SSELECTED SHORT STORIES
by
TRI RATNA KURNIASARI Student Number: 106332004
Approved by
Prof. Dr. C. Soebakdi Soemanto, S.U. ____________________________
A THESIS
FALLING SAKURA:
DEATH AND ITS SEEDS OF WISDOM
IN YASUNARI KAWABATA’S SELECTEDSHORT STORIES
by
TRI RATNA KURNIASARI
Student Number: 106332004
Defended before the Thesis Committee
and Declared Acceptable
THESIS COMMITTEE
Chairperson : Dr. Novita Dewi M.S., M.A. (Hons.). ______________
Secretary : Paulus Sarwoto S.S., M.A., Ph.D. ______________
Members : 1. Prof. Dr. C. Soebakdi Soemanto S.U. ______________
2.Dr. J. Bismoko ______________
Yogyakarta, February 27, 2015
The Graduate Program Director
Sanata Dharma University
STATEMENT OF ORIGINALITY
This is to certify that all the ideas, phrases, and sentences, unless otherwise stated, are the ideas, phrases, and sentences by the writer. The writer understands the full consequences including degree cancellation if she took somebody’s ideas, phrases
or sentences without a proper reference.
Yogyakarta, February 27, 2015
Lembar Pernyataan Persetujuan Publikasi Karya Ilmiah untuk Kepentingan
Akademis
Yang bertandatangan dibawah ini, saya mahasiswa Universitas Sanata Dharma:
Nama : Tri Ratna Kurniasari
Nomor Mahasiswa : 106332004
Demi perkembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul:
Falling Sakura: Death and Its Seeds of Wisdom in Yasunari Kawabata’s
Selected Short Stories
beserta perangkat yang diperlukan (bila ada).
Dengan demikian, saya memberikan hak kepada Perpustakaan Universitas Sanata Dharma untuk menyimpan, mengalihkan dalam media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikannya secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta.
Pada tanggal: 27 Februari 2015 Yang menyatakan,
"Sakura" by Matsumura Goshun (1752–1811)
Every story has an end, but in LIFE every ENDING is just A
NEW BEGINNING...
ACKNOWLEDGMENTS
I would like to express my gratefulness to those who have given great contribution in helping me to finish this thesis. First, I would like to thank the
God Almighty for giving me a very caring family, many beloved friends and helpful lecturers who are always by my side during this wonderful process of writing. Their love, prayers and support are very meaningful for me in completing this thesis. I would not be able to finish this without their presence. Moreover, I would also thank Him for always guiding my steps and holding my hands during this precious journey. He has given me a good opportunity to be grateful for the priceless lessons that I have learned in this wonderful time.
Next, I am deeply indebted to my thesis advisor Prof. Dr. C. Soebakdi Soemanto, S.U. who has been so patient in guiding me during the writing process. His wise words have illuminated my mind and encouraged my spirit in finishing this thesis. The quality time that I have shared with him and his wife,
Ibu Nin B.S.has enriched my literary knowledge and enhanced my horizon about life itself.
In addition, I am so thankful to Dr. Novita Dewi M.S. M.A. (Hons) for always being so open and generous in sharing her knowledge to me. Besides, her patient guidance and unlimited support have helped me a lot in completing this thesis. Without her extraordinary suggestions and unique perspective, I would not be able to explore and improve my thesis well.
My greatest thanks also go to my beloved lecturers in the graduate school,
Francis Borgias Alip, M.Pd., M.A., Dr. J. Bismoko and Paulus Sarwoto S.S.,
M.A., Ph.D. for sharing their beneficial knowledge and critical thoughts in my study time. Besides, I also like to express my gratefulness to Barli Bram, Ph.D
and Dr. Yoseph Yapi Taum, M.Hum. for their encouragement and supports in finishing my study.
Moreover, I am deeply grateful to Sanata Dharma Universitywhich has opened its door for me to continue my study and satisfy my thirst of knowledge, especially in English Language Studies. Further, I would like to extend my gratitude to Sanata Dharma University staffswho have helped me a lot during my study time. My sincere thanks are given to Mbak Lelly, Pak Mul, Mbak WindyaandMbak Ernafor their full assistance and kind attention to me.
Next, I would like to thank my classmates and other friends in English Language Studies: Arina, Siska, Septa, Pipin, Mbak Anjar, Kak Orpa, Mbak Wenny, Mbak Atik, Bu Irna, Bu Erna, Mbak Suzan, Mia, Mbak Deta, Uci
My sincere thanks go to my beloved family members; my one and only super mom Sri Suyanti, my greatest father M. Soebagiyo, my lovely and wise sisters Siska Lidya Revianti andDwi Riana Oktavia, my little niece Sheva and my brother-in-law Adipermono. Their caring, endless love, prayer and supports always give me extra strength and spirit to finish my thesis. In addition, I would also thank my uncleSoemardiyonoand his family for their genuine attention and encouragement in finishing this thesis. I also feel thankful for the blessing that is sent from Heaven by my late grandparentsSanadi Sastro HutomoandSardinem
which also contributes a lot in finishing my thesis.
Words cannot fulfill my gratefulness to the presence of my loyal spring breeze-Ridwan Bayuadiwho has given his extraordinary love and patience in my life. His sincere attention, unstoppable prayers and unlimited support have encouraged me in finishing my study well.
Last but not least, I would like to express my greatest and sincerest thanks to everyone who has helped me in finishing my study and writing my thesis. I can only wish that God will multiply His blessing for their kindness. Amen.
TABLE OF CONTENTS
TITLE PAGE ………. i
APPROVAL PAGE ………... ii
DEFENSE APPROVAL PAGE ………...………. iii
STATEMENT OF ORIGINALITY ………. iv
LEMBAR PERSETUJUAN PUBLIKASI KARYA ILMIAH ………v
MOTTO PAGE ……….. vi
ACKNOWLEDGEMENTS ……….. vii
TABLE OF CONTENTS ……….. x
ABSTRACT ……… xii
ABSTRAK ……….. xiii
CHAPTER I: INTRODUCTION………1
A. The Beginning ...………..1
B. The Spotlight ...………....6
C. The Expectations………...13
D. The Riddles... ..………15
E. The Intentions ...15
F. The Stepping Stones ...16
CHAPTER II: LITERATURE REVIEW……...………... 20
A. Review of Related Studies………...………... 20
B. Theoretical Concepts ... 31
1. The History of Modern Japanese Literature .………... 31
2. Yasunari Kawabata’s Life and Works (1899-1972)………... 34
3. The Development of Zen Buddhism and Its Influence towards Japanese Literature ...…..………. 40
4. The Japanese View on Death……….….... 47
CHAPTER III: THE SOLEMN PARADE OF DEATH ...………..….54
A. Life Representation ... 57
B. Life Preservation ...………... 63
C. Final Redemption………...………... 71
D. Total Liberation ... 76
E. Concluding Remarks ...84
CHAPTER IV: THE SEEDS OF WISDOM .………... 87
A. Genuine Acceptance ...………... 91
B. Eternal Peacefulness ... 92
C. Self Purification ... 96
D. Personal Wholeness ... 99
E. Concluding Remarks………...………... 102
CHAPTER V: CONCLUSION ...……….…... 103
BIBLIOGRAPHY………. 107
Ratna Kurniasari, Tri. 2015. Falling Sakura: Death and Its Seeds of Wisdom in
Yasunari Kawabata’s Selected Short Stories. Yogyakarta: Graduate Program on English Language Studies, Sanata Dharma University.
Borrowing the analogy ofsakura’s falling and blooming to represent the
entangled relationship between death and life that is inspired from Zen Buddhism teachings, this study aims to reveal the unique portraits of death in generating the seeds of wisdom in life as seen in Yasunari Kawabata’s selected short stories. Those short stories are“Canaries”, “Love Suicides”, “Mother”, “Makeup”, “Death Mask”, “Tabi” and “Immortality” which are taken from Kawabata’s Palm of the Hand Stories(1988). Further, those short stories are chosen based on the presence of death in the stories which later generates the seeds of wisdom in life.
The study focuses on two problems. The first is ‘How is death portrayed in Yasunari Kawabata’s selected short stories?’. The second is ‘How do those
portraits of death generate seeds of wisdom in life as seen in the works under
study?’
This study used literary hermeneutics due to its role as a facilitator in creating an equal dialogic interaction between the readers as the active producers of meaning and Kawabata’s selected writings that voice its meaning. Besides, its
aim in having the sense of openness ‘to experience’ the life experience through
the reflection of imaginative universe found inKawabata’s selected writingscould be used in gaining satori or enlightenment. In dealing with its use in this study, some background information related to Kawabata’s selected writings was discussed. They were the history of modern Japanese literature, Yasunari
Kawabata’s life and works, the development of Zen Buddhism and its influence
towards Japanese literature and also the Japanese notion about death wrapped in Zen Buddhism teachings. Later, it is hoped that the use of hermeneutics in this study will be beneficial in gainingsatori or spiritual enlightenment as it is aimed by Kawabata through his writings.
From the analysis, there are two things that can be drawn. First, death is
portrayed differently in Yasunari Kawabata’s writings. In this study, death is depicted positively due to the influence of Zen Buddhism teachings that regard death as another form of life. Hence, death is portrayed as life presentation, life preservation, final redemption and total liberation. Second, the positive portraits of death generate the seeds of wisdom in life which can make life becomes more meaningful and beautiful due to its brevity. Those seeds of wisdom are related to genuine acceptance, eternal peacefulness, self purification and personal wholeness.
Ratna Kurniasari, Tri. 2015. Falling Sakura: Death and Its Seeds of Wisdom in
Yasunari Kawabata’s Selected Short Stories.Yogyakarta: Program Pasca Sarjana Kajian Bahasa Inggris, Universitas Sanata Dharma.
Dengan meminjam analogi bunga sakura yang jatuh dan mekar untuk mewakili hubungan erat antara kematian dan kehidupan yang terinspirasi dari ajaran Zen Buddhisme, studi ini bertujuan untuk mengungkap gambaran unik kematian dalam memunculkan benih-benih kebijaksanaan seperti yang terlihat dalam cerita-cerita pendek Yasunari Kawabata. Cerita-cerita tersebut meliputi “Canaries”, “Love Suicides”, “Mother”, “Makeup”, “Death Mask”, “Tabi” and “Immortality”yang diambil dari karya Kawabata yang berjudul Palm of the Hand Stories (1988). Selanjutnya, cerita-cerita tersebut dipilih berdasarkan kehadiran kematian didalamnya yang kemudian memunculkan benih-benih kebijaksanaan dalam kehidupan.
Studi ini menitikberatkan pada dua permasalahan. Yang pertama adalah “Bagaimana kematian digambarkan dalam cerita-cerita pendek terpilih Yasunari Kawabata?’. Yang kedua adalah ‘Bagaimana gambaran-gambaran kematian itu memunculkan benih-benih kebijaksanaan seperti dalam karya-karya yang diteliti?’.
Studi ini menggunakan hermeneutika sastra terkait dengan peranannya sebagai fasilitator dalam menciptakan interaksi dialogis yang setara antara para pembaca sebagai produsen aktif makna dan karya-karya terpilih Kawabata yang menyuarakan maknanya. Selain itu, tujuan hermeneutika yang memiliki rasa keterbukaan 'untuk mengalami' pengalaman hidup melalui refleksi imajinatif alam semesta yang ditemukan dalam karya itu sendiri dapat digunakan dalam memperoleh satori atau pencerahan spiritual. Terkait dengan penggunaan hermeneutika dalam penelitian ini, beberapa latar belakang informasi mengenai karya-karya Kawabata perlu disertakan, diantaranya meliputi sejarah sastra Jepang modern, kehidupan Yasunari Kawabata dan karya-karyanya, perkembangan Zen Buddhisme dan pengaruhnya terhadap sastra Jepang dan juga gagasan Jepang tentang kematian yang dibungkus oleh ajaran Zen Buddhisme. Nantinya diharapkan bahwa penggunaan hermeneutika dalam penelitian ini akan bermanfaat dalam memperoleh satori atau pencerahan spiritual seperti yang ditujukan oleh Kawabata melalui tulisan-tulisannya.
Dari hasil analisis, ada dua hal yang dapat ditarik. Pertama, kematian digambarkan secara berbeda dalam tulisan-tulisan Yasunari Kawabata. Dalam penelitian ini, kematian digambarkan secara positif karena pengaruh dari ajaran Zen Buddhisme yang menganggap kematian sebagai bentuk lain dari kehidupan. Karenanya, kematian digambarkan sebagai penyajian hidup, pelestarian hidup, penebusan akhir dan pembebasan total. Kedua, gambaran-gambaran positif kematian mampu memunculkan benih-benih kebijaksanaan dalam hidup yang bisa membuat hidup menjadi lebih bermakna dan indah karena kesingkatannya. Benih-benih kebijaksanaan tersebut dikaitkan dengan penerimaan yang tulus, kedamaian abadi, pemurnian diri dan keutuhan pribadi.
CHAPTER I
INTRODUCTION
A. The Beginning
Sakurais widely known as a Japanese iconic flower that is usually used to represent Japan and its unique culture. The lovely presence of this flower draws people’s attention just like a drop of honey that draws a flock of bees. As small buds of sakura bloom, an unforgettable pink nuance of spring appears for those who see them. Yet, this beautiful scenery has to end in a blink when the spring breeze blows and makes the withered sakurapetals fall to the ground. Hence, the Japanese often consider sakura as the perfect representation of an endless life cycle through its blooming buds and falling petals. It is because the innocent figure ofsakurahas reminded them not only about the final destination of life that leads to death, but also the presence of death that leads back to the starting point of life. Though many only regard sakura as a Japanese iconic flower, it will always be in every Japanese’shearts due to its presence in reminding them about eternal cycle of death and life in this transient world. Even, the Japanese have an old tradition of viewing sakura three-days-of-glory that is called hanami. This tradition is held to appreciate and honor the sakura brief beauty and its representation of the transience of life through its innocent figure.
life.1By having a close relationship with nature, the Japanese believe that they will be united with the universe and share the same fate with other mortal creatures in this temporal world. As a consequence, they have to undergo the samenatural process of undeniable “bloom, wither and fall”just likesakuraitself in its brief life span.
In addition, this scene does not only awake the melancholy feeling of the unstoppable life cycle, but also leads one to a meditative mood in worshipping nature and life themselves. Related to that, some Western scholars even have called Japanese mysticism as a natural mysticism rather than a spiritual mysticism. It is due to the nature’s significant role in the Japanese’s way of life which can bring ones back to their own true nature. As it is stated by Hoffman:
Indeed, even today the Japanese share a deep identification with nature. This is not nature as understood by Western religions, the work of a creator who stands apart from his work, but nature bursting with vitality, appearing and disappearing in cycles life and death, of summer and winter, spring and fall. The Japanese aspire to clarity of awareness, as of a mirror reflecting natural phenomena in its many forms. And anyone who has seen a Japanese stand silently for a good hour to view the blossoming cherries in spring and the reddening maples in fall, or to gaze at the full moon in the autumn sky, knows that this is no mere gesture of aesthetic appreciation, but an act of worship.2
This close relationship between the Japanese and nature is influenced by the presence of Zen Buddhism teachings. This Buddhism school and its teachings penetrate deeply in Japanese culture and give a great impact on every Japanese life aspect. It is even said that Zen Buddhism is considered as a great power which penetrates delicately in the artistic, intellectual and even the political life of the Far East.3Due to its great influence in Japanese life, Zen Buddhism even becomes
1
Daisetz T. Suzuki, Zen and Japanese Culture, (Princeton: Princeton University Press, 1973) 334.
2
Yoel Hoffmann, Japanese Death Poems, (Boston: Tuttle Publishing, 1986) 39.
3
the core of the Japanese finest culture which later affects its art convention.4As a consequence, the presence of Zen Buddhism teachings has both molded the Japanese’scharacter and become the expression of the character itself in every life aspect. This statement has made Zen as a kind of Buddhism school that is often
described as “thoroughly Japanese” since it becomes the essence of the Japanese soul that penetrates deeply in their heart and influences their perspective in seeing the life itself.5
Basically, the teachings of Zen Buddhism emphasize on nothingness that is taken from the notion ofmuor emptiness. However, it is not defined as nihilism since nihilism is regarded as self-destructive which leads to nowhere.6This notion of mu relates to a famous recitation that is commonly recited in many Zen monasteries which says “form is nothing but emptiness, emptiness is nothing but
form”. Particularly, it can be said that Zen Buddhism teachings do not regard nothingness in a term of non-existence. Yet, it is defined as the existence of the unseen behind the empty space which makes everything exists in the presence of emptiness.7Hence, this definition supports the notion that “Sunyata or emptiness is formless, but it is the fountainhead of all possibilities”.8Further, this notion also has become the core of Zen Buddhism teachings which believe in the concept of
4
George Sansom, Japan: A Short Cultural History, (Stanford: Stanford University Press, 1978) 336.
5
ibid., p.336.
6
Suzuki, An Introduction to Zen Buddhism, (New York: Grove Press, Inc., 1977) 39.
7
Roger J. Davies and Osamu Ikeno, The Japanese Mind: Understanding Contemporary Japanese Culture, (Boston: Tuttle Publishing, 2002) 225.
8
oneness since the term of logical dualism is not acknowledged, including the dualism terms of death and life. Those terms are used in order to facilitate people in grasping the unity of death and life in the Realm of Emptiness.
The interrelationship between death and life can be seen clearly by borrowing the analogy of sakura.As a beautiful creature,sakurais awaited for its pretty blooming buds which later will turn into nothing when they wither and fall. Hence, it can be said that everything which represents life also represents death at the same time based on the belief of Zen Buddhism teachings. Later, this notion is perfectly described in thishaikubelow:
year upon year—
fertilizing thesakuratrees: blossom dust
toshidoshi ya / sakura o koyasu / hana no chiri9
Through the spectacles of Zen Buddhism teachings which adopt the concept of oneness, the presence of fallingsakurahas created a strong impression for the Japanese. Death and life, which can be seen through the representation of falling sakura, are regarded as an inseparable unity that complement each other and merged beautifully in their own existence. Further, seeing this scenery is like seeing an intimate dance of death and life in an elegant harmony. It is beautiful indeed, but somehow creates a strange cold feeling. It feels like the hands of death themselves which try to reach and bring anything into its embrace, including an innocent creature like sakura. Later, the unity of death and life as being inseparable parts is also mentioned by Kigen, the founder of the Sōtō School of Zen Buddhism:
9
There is life in death, and there is death in life...This is not contrived by man willfully, but acted by Dharma (cosmic law) naturally...Although we have not left life, we already see death. Although we have not yet discarded death, we already meet life. Life does not obstruct death, death does not obstruct life.’10
Related to the statement above, it is believed that the presence of death and life needs to be explored in order to emphasize the mortality of living beings in this temporal world. It means that human beings need to be aware that death is an undeniable part of their destiny as living entities. As it can be seen through the representation ofsakurasmall buds and falling petals, the eternal life cycle in this temporal world is described perfectly since everything is an object of death that is destined to die.
In its later development, Zen Buddhism teachings which give a unique color in the life of Japanese society also give a natural streak on the canvas of Japanese literature. Since it is believed that literary works do not stand in isolation, many Japanese writers who are also parts of Japanese society also take Zen Buddhism teachings as their source of inspiration in writing their works.11One of those writers is Yasunari Kawabata.
Yasunari Kawabata is known as the first Japanese writer who won the Nobel Prize of Literature in 1968 for his deep concern with the beautiful Japan or the Japanese elegant beauty as it is suggested by the title of his Nobel Prize acceptance speech Utsukushii Nihon no watakushi or Japan, the Beautiful and Myself.12Further, his international achievement in 1968 has made him as the
10
Kim Hin-Jee, Dōgen Kigen—Mystical Realist, (Tucson: University of Arizona Press, 1975) 226.
11
Janet Wolff, The Social Production of Art, (New York: New York University Press, 1993) 49.
12
second Asian writer who got the award after Rabindranath Tagore from India in 1913. His achievement in winning the Nobel Prize has brought equality to Asian literary works on the stage of World Literature.
Later, Kawabata’s triumph in winning the Nobel Prize in Literature in 1968 is related to his good writing skill in the three novels namely Snow Country
or Yukiguni (1937), Old Capital or Koto (1962) and Thousand Cranes or
Senbazuru (1952). Kawabata’s international reputation itself is well established since his writings are translated by Edward G. Seidensticker, althoughKawabata’s
first writing entitled The Izu Dancer has already been published into German version in 1942 by Oscar Benl.13As stated in the New York Times that
Seidensticker’s English translations of The Old Capital (1956) and Thousand Cranes (1958) are acknowledged in helping Kawabata to be the first Japanese writer to receive the Nobel Prize in Literature in 1968.14Further, it can be said
that Seidensticker’s English translations have brought Kawabata’s writings into a
wider literary universe called the World of English Literature and later are published in many different languages around the world.
B. The Spotlight
It is undeniable that Kawabata’s victory brings a huge impact in Asian Literature, especially Japanese Literature. However, his brilliant achievement in winning the Nobel Prize is quite controversial. Previously, it was Yukio Mishima that was nominated for the Nobel Prize winner. Later, it was cancelled by the
13
Donald Keene, Five Modern Japanese Novelist, (New York: Columbia University Press, 2003) 24.
14
Nobel Committee due to Mishima’s radical political view as a leftist. Since there was a thick influence of Western thoughts in the Nobel Prize Award, the
Committee was quite concerned that Mishima’s political view might be able to create future conflicts. Therefore, the Nobel Committee recommended Kawabata as the winner who was considered more mature and safer than Mishima.15
Despite Kawabata’s controversial victory, his writings have drawn international attention because of his unique quality in writing his works. As stated by Anders Ӧ sterling in his Nobel Prize of Literature ceremonial speech in 1968 as the representation of the Swedish Academy, Kawabata’s writings were voted due to Kawabata’s magnificent talent in making stunning wistful melancholy lyrical writings which were able to express the essence of the Japanese soul and attract the readers’ attention to the universality of human
experience.16As a further impact of Kawabata’s victory in 1968, it is undeniable that his writings have created a literary phenomenon around the world since 1968 due to the poetic quality of his writings. This quality refers to the use of poetic symbols which then evokes the presence ofpoetryin Kawabata’s writings. In this context, the term poetryor what is calledmousikè by Plato is simply defined as a
‘mysterious’ essence that can be found in all art works.17Further, poetry can be described as the result of an intense mixing process between the free creativity of the human beings’ soul and their emotional intuitive knowledge which later is
15
Keene, Five Modern Japanese Novelist 25.
16
"Nobelprize.org". Nobelprize.org. Nobel Media AB 2013. Web. 29 Aug 2013. Available: http://www.nobelprize.org/nobel_prizes/literature/laureates/1968/press.html
17
able to surpass and penetrate in all arts.18 Further, this essence can thrill those hearts who enjoy the art works with its moving power of flash spiritual enlightenment or what is called satori in Japanese. In its correlation to Kawabata’s writings, this essence is able to raise the readers’ curiosity about the uniqueness of Japanese literary pieces and its literary convention that are influenced by Zen Buddhism teachings. As a result, the uniqueness raises a sensational literary phenomenon in the World of Literature about the exotic flavor of Japanese literature itself. Consequently, this literary phenomenon has encouraged people to publish various translations of Kawabata’s writings in 22 different languages, including in Bahasa Indonesia.
Later, the publication of Kawabata’s writings in Bahasa Indonesia is initiated by Anas Ma’ruf entitled Negeri Salju or Yukiguni (1972).19 Then, it is followed by other BahasaIndonesia versions of Kawabata’s works such asRumah Perawan or Nemureru Bijo (1977) by Asrul Sani20,Penari-Penari Jepang or Izu no Odoriko(1985)21andDaerah SaljuorYukiguni(1987)22by Ajib Rosidi.
Further, many of Kawabata’s writings are also adapted into movies. They are Snow Country in 1967, 1969 and 2008; House of Sleeping Beauties in 1997, 2008 and 2011;Beauty and Sadnessin 1965 and 1985;Through Days and Months
in 1969; The Lake in 1970; Thousand Cranes in 1969; Two Sisters of Kyoto in
18
ibid., p. 393.
19
Yasunari Kawabata, Negeri Salju, trans.Anas Ma’ruf(Jakarta: Pustaka Jaya, 1972)
20
Kawabata, Rumah Perawan, trans. Asrul Sani (Jakarta: Pustaka Jaya, 1977)
21
Kawabata, Penari-Penari Jepang, trans. Ajib Rosidi (Jakarta: Djambatan, 1985)
22
1962, Page of Madness in 1926 and 1973; The Izu Dancer in 1933, 1954, 1960, 1963, 1966 and 1974; and the last is Palm of the Hand Stories in 2009. Most of those movies are adapted into Japanese, but there are also some which are adapted into foreign languages such as: Snow Country that is adapted into English in the same title in 2008; Beauty and Sadness that is adapted into French entitled
Tristesse et Beauté in 1985 and the last is House of Sleeping Beauties that also adapted into German and English in 2008 and 2011 in two different titles Das Haus der Schlaferden SchӧnenandSleeping Beauty. Though some of Kawabata’s
writings gain international attention and are adapted into some foreign language movies, some of those movies unfortunately attract plenty of critics. The German adaptation of House of the Sleeping Beauties entitled Das Haus der Schlaferden Schӧnen is not received well by the audiences due to their ignorance of Japanese art convention which is inspired from Zen Buddhism teachings.23Its rating was only at 28% which made it called as “one of the worst releases of the year” in 2008.24
Before knowing Kawabata’s writings, many of Indonesian authors are quite familiar with haiku which is known as a form of seventeen-syllabled Japanese poem that often found decorating the Japanese literary pieces.25 This kind of poem is known as the modern development of the thirty one-syllabled
23
"rottentomatoes.com".rottentomatoes.com.Das Haus der Schlaferden Schӧnen (House of the Sleeping Beauties). Web. 29 Aug 2013. <http://www.rottentomatoes.com/m/10009828-house_of_sleeping_beauties/
24Vadim Rizov, "Vadim Glowna’s Laborious House of Sleeping Beauties," 12 November.
2008, Village Voice, 29 August 2013. <http://www.villagevoice.com/2008-11-12/film/vadim-glowna-s-laborious-house-of-the-sleeping-beauties/full>.
25
poem called tanka which existed around the end of the Heian period. Both forms of these poems are connected to the original form of rengaor linked poem. After having several developments, this tanka form turns into a shortened one called
haikaior haikuwhich is firstly adopted by one of the greatest haiku poets named Matsuo Bashō(1644-1694). In its later development,haikustill uses the particular conventions of tanka by the means of natural images, associations or plays on seasonal words. However, haiku is often expressed humorously through the simple use of everyday life images.26It is believed that through the use of those images in haiku, one will be able to experience the presence ofpoetry which will lead to the sudden flash of satori or spiritual enlightenment. Further, it is hoped that a free, genuine and sincere appreciation of life will be achieved since things are reflected naturally as the way they are inhaiku.27
Sincehaikuis part of the Japanese literary tradition and its art convention, people later see the quality of haiku through the lyrical and melancholy writings of Kawabata. Even Kawabata’s short stories have inspired many Indonesian poets
in writing their works, including Sapardi Joko Damono. As mentioned by Damono in his book that Kawabata’s writings have inspired him in writing his
segenggam cerita due to the form of Kawabata’s writings that is very short and
haiku-like.28In addition, Damono states that the brevity of those stories has made
26
Hoffmann 16.
27
Suzuki, Zen and Japanese Culture 375-376.
28
them look alike ‘mini’ stories rather than short stories. In its development, it is believed that the short form of those stories is able to represent not only the brevity of life itself, but also the intensity of focus that becomes the essence of
Kawabata’shaikuwriting style. Besides, their brevity has made them to be called palm-of-the-hand-stories since virtually they fit into the palm of one’s hand.
Further, these short stories can be regarded as the miniature form of Kawabata’s
longer writings since all aspects that can be found in Kawabata’s longer writings such as Snow Country or Yukiguni (1937), Old Capital or Koto (1962) and
Thousand CranesorSenbazuru(1952) are expressed in“miniature ways”without reducing their best qualities.Hence, this unique form of Kawabata’s stories is able
to captivate many readers by the depth and the “subtle touch” of Japanese art convention in writing his works.29.
Though there is a tendency among the readers to regardKawabata’s palm-of-the-hand-stories as his ‘minor’ writings, those stories are able to express and represent the richness of his ability in interweaving the imageries and the powerful expression of deep emotion in a lyrical narrative way in which he is known for. Even, his compilation of short stories entitled Palm of the Hand Stories (1988) has created a special meaning in the universe of World Literature. It is due to the readers’ curiosity about the genre ambiguity of Kawabata’s
writings. Those readers are not aware that the presence of the clouds of ambiguity in Kawabata’s writings is part of Japanese art convention that is influenced by
29
Zen Buddhism notion of emptiness. In Zen Buddhism, logical dualism is not acknowledged since everything is part of each other and so do poem and prose. Besides, the use of poetics symbols has raised the poetic level that evokes the presence ofpoetryin his writings. As a result, most of Kawabata’s readers regard
that his writings look like short stories and poems at the same time. In addition,
the existence of Kawabata’s writings in the universe of World Literature has
created an amusement toward Japan and its culture. It is due toKawabata’sability in writing which touches the most basic sense of humanity through the exploration of everyday life-issues that do not only happen around him as Japanese, but also happen to others in different parts of the world.30
Related to those reasons, this study is trying to appreciate the brilliant achievement of Kawabata’s writings academically. In particular, this study is going to focus on his mini-short stories that can be found in his compilation of short stories entitled Palm of the Hand Stories (1988). Among seventy short stories that are published in English version, there are only seven short stories that are going to be analyzed in this study. They are “Canaries”, “Love Suicides”,
“Mother”, “Makeup”, “Death Mask”, “Tabi” and “Immortality”. Those short stories are parts ofKawabata’s short stories that can be found in the book written over almost fifty years period from 1923 until 1972. The main reason in choosing those short stories is related to the presence of different portraits of death that can be found in the stories which are influenced by Zen Buddhism teachings. Since
30
Zen Buddhism teachings are based on the notion of emptiness which means seen beyond the unseen, it is believed that those portraits of death are able to reveal the hidden treasure of life. The treasure which can be found in the seeds of wisdom that generate in life from the presence of death itself.
Through his writings, Kawabata wants to convey an important message to his readers. He wants to remind people that nothing to be worried about death because it is a natural process that needs to be happened in order to preserve the life itself. Later, he also wants to invite people to be grateful for the significant presence of death in creating a beautiful life at the same time.
C. The Expectations
This research is conducted to enrich the studies done in the English Language Graduate Program Sanata Dharma University, especially in the field of World English Literature. As it is realized that the presence of World English Literature has widened the readers’ opportunity to access other literary works that
come from different countries and continents. Besides, English has played an important role as a golden bridge in creating equality in the World of English Literature that previously was limited by language, geographical location or race and most of the time was dominated by classical European canonical works. Further, these literary pieces will provide the readers with new understanding of
literary pieces that make them unique. In the end, it is hoped that they will be able to bring freshness and new flavor in the World of Literature.
Moreover, the Japanese literature itself is particularly chosen related to its rapid growth as another branch of World Literature which preserves Japanese tradition and its art convention. Consequently, this special quality of Japanese literature has splashed another color on the canvas of World Literature and captivated many readers around the world31Besides, it is also believed that the analysis of the presence of death and its seeds of wisdom which generate in life will be beneficial for the readers in creating a meaningful life. The presence of death has underlined the brevity of life itself which makes every second counted. It means that life has to be filled with good deeds and gratitude in order to make the life itself beautiful.
Additionally, this research is conducted in response to the lack of today’s
people humanity. Hence, Kawabata wants to remind people through his writings that most of the time they tend to feel that their properties reflect who they are. They are inclined to measure that their perfect life is measured based on what they have and further they try to preserve those things in any way they know by neglecting their own conscience. Besides, people tend to forget their nature as mortal beings who are also destined to die just like others. Therefore, life needs to be appreciated through the presence of undeniable death. Hopefully, people will be able to find the seeds of wisdom which generate in life through the presence of death that are presented by Kawabata through his writings used in this study.
31
D. The Riddles
Considering the background, the focus of the study and the urgency that are mentioned above, this study will discuss some problems. Those problems can be formulated as follows:
1. How is death portrayed in YasunariKawabata’s selected short stories?
2. How do those portraits of death generate seeds of wisdom in life as seen in the works under study?
E. The Intentions
This study is conducted to reveal the different portraits of death and the seeds of wisdom which generate in life found in Yasunari Kawabata’s short
stories. These various portraits of death can be regarded as Nō masks that can bring different impressions for those who see them in the drama performance.32
Yet, this drama is quite desolate just like Kawabata’s writings that are known for the presence ofpoetrythat can be felt through the power and beauty of their quiet, meditative and poetic language which speak clearly of a spiritful victory and a joyful life than any explicitly louder statement could do.33For Kawabata’s readers,
the quality of his writings brings a mysterious nuance which creates a deep impression. In addition to it, reading his writings is just like spreading some bread crumbs into a quiet peaceful pond and suddenly a school of Koi appears and replaces the nature’s tranquility with the splashing sound of water. It offers the
32
Nō drama is a Japanese folk entertainment in which the performers wear decorated costumes and masks that symbolize their emotions. In doing the performance, the lines of prose and poetry are chanted rather than spoken. The performers dance in a slow highly ritual steps on a small square stage.
33
impression of natural freshness which creates a long lasting effect in mind just like Kawabata’s writings. Through his writings, Kawabata wants to awake the readers’ awareness that everything does not always look as it seemed. Even death which is often regarded as a dreadful ugly thing has many different faces which cause different impressions for those who see them.
Yet, people usually relate the existence of death with sorrow, grief and misery. It is because death is interrelated with unbearable loss. Getting in touch with the cold hands of death even can freeze tears with its coldness which can be the ultimate pain that people hardly bear. Yet, knowing the different portraits of
death may alter people’s perception in seeing the death itself. The portraits of death that are wrapped by Zen Buddhism teachings may offer a consolation since death is regarded as a natural process that has to be happened in order to create a beautiful life. As a result, the presence of death can be seen as a beautiful thing rather than a dreadful one. However, it depends on the spectacles that are used and the angles that are taken in seeing the death itself. Hopefully, the result of this study will bring a positive impact to increase people’s awareness in finding the seeds of wisdom which generate from the presence of death. It is hoped that those seeds of wisdom will be able to help people in creating a beautiful life for themselves and others.
F. The Stepping Stones
As the subjects of the study, the mini-short stories written by Yasunari Kawabata are chosen. These short stories are taken from Kawabata’s compilation
of short stories entitled Palm of the Hand Stories, published in English by Lane Dunlop and J. Martin Holman in 1988. This book consists of seventy mini-short stories written by Kawabata from 1922 until 1972. Further, there are only seven stories chosen as the subjects of the study. They are “Canaries”,“Love Suicide”,
“Mother”, “Makeup”, “Death Mask”, “Tabi” and “Immortality”. These short
stories are chosen based on the presence of death which then draws the writer’s
attention to reveal different portraits of death which later generate the seeds of wisdom in life.Through Kawabata’s stories,the presence of death is seen more as the eternal celebration of the transience of life itself which then invites the readers to realize and appreciate life as something that is beautiful due to its brevity. Related to that, the analysis will focus on revealing different portraits of death and the seeds of wisdom which generate in life found in Kawabata’s selected short stories used in this study.
In answering the research questions, the study involves the exploration of
Yasunari Kawabata’s selected literary works found in his Palm of the Hand Stories(1988). Some data that are needed for the study are taken from the printed books, e-books and other related data which deal with Yasunari Kawabata’s
the study. This limitation deals with methodology and the theories that need to be applied in the study. Then, answering the problem formulation by applying the methodology and the theories in analyzing Kawabata’s selectedshort stories. This step is very crucial in finding the answers of the problems in this study. Last step is drawing conclusions related to the findings of the study that deal with Yasunari
Kawabata’sselected writings used in this study.
In order to answer the research questions, this study uses hermeneutics criticism. Generally, hermeneutics can be defined as the art or theory of interpretation.34However, in this study, it is connected to literary field under the
term of “literary hermeneutics”. It is a particular kind of hermeneutics which can be simply defined as the interpretation theory of literary texts.35 The aim of hermeneutics itself is about having experience rather than gaining a definite knowledge. Hence, the readers need to equip themselves with relevant information to form the horizon of expectation which will evoke their sense of openness in having particular experience of new things.36
Related to its definition, hermeneutics has become a particular research method which facilitates an intense interaction between the readers as the active producers of meaning in literary texts and the text that voices its meaning.37It means that in applying this research method, hermeneutical practice involves the
34
Robert Audi, ed. The Cambridge Dictionary of Philosophy. (Cambridge: Cambridge University Press, 1999) 377.
35
Ming Dong Gu, Chinese Theories of Reading and Writing: A Route to Hermeneutics and Open Poetics. (Albany: New York Press, 2005) 1.
36
Chris Lawn and Niall Keane, The Gadamer Dictionary (New York: Continuum, 2011) 51.
37
equal use of the readers’particular experience based on the horizon of expectation that is formed by relevant background information in order to make the text
‘voices’ its own meaning.38 Since each reader has different past and present experience, the result of interpretation of each reader would be different and it cannot be denied that the result of interpretation would be very subjective and personal between one and another.
Based on the previous discussion, some information which deals with
Yasunari Kawabata’s writings and background as Japanese writer, the Japanese
literature, Zen Buddhism teachings and the Japanese view on death needs to be inserted in this process of interpretation. They are needed to form the horizon of expectation which will be useful in creating the readers’ particular experience in dealing with Kawabata’s writings wrapped in Zen Buddhism teachings. Hence, some writings about Zen Buddhism teachings and Japanese literature are needed in order to explore the different portraits of death and their seeds of wisdom in life found in Kawabata’s selected short stories used in this study. Those writings which written by Daisetz T. Suzuki, Donald Keene and Michael Marra are used as the ‘main’ references since those people are considered as the ‘experts’ in the related fields. Their competency in understanding the development of Japanese literature including the influence of Zen Buddhism teachings in the notion of death preferred by the Japanese can be used to deepen the analysis of this study. Finally, those background information will be useful in revealing different portraits of death and the seeds of wisdom that generate in life found in
Kawabata’s selected short stories taken fromPalm of the Hand Stories(1988).
38
CHAPTER 2
LITERATURE REVIEW
A. Review of Related Studies
As mentioned in the previous chapter, this study is conducted to reveal the different portraits of death and the seeds of wisdom which generate in life found in Yasunari Kawabata’s selected English version mini-short stories taken from his writings compilation entitled Palm of the Hand Stories (1988). Since his great
achievement in 1968, Kawabata’s writings are known world widely. Asan impact, a wave of curiosity raises among the scholars to do some studies on his writings. Some of those studies deal with his famous novels that won the Nobel Prize award, such as Snow Country (1937), Old Capital (1962) and Thousand Cranes (1952). As one of Japanese writers who follow the Japanese literary tradition and its art
convention, Kawabata’s works later remind people of tanka and haiku not only due to the decorative use of natural images, associations and play of seasonal words, but also the presence of gaps and the use of haiku form in his writings. Moreover, contrasts which also become significant aspects in haiku can also be
found in Kawabata’s writings.39The contrasts in his writings can be seen through the portraits of youth in the agony of old age, virginity that is engraved on the body of prostitutes, glorious life that can be felt through the dense atmosphere of death or even eternity that can be grasped through the fragility of mortal life. Consequently, reading Kawabata’s writingsneeds an exploration of a wide space of imagination in order to get their genuine essence which will generate the seeds of wisdom in life.
39
Related to Kawabata’s poetic lyrical quality in his writings, many scholars
view it as a uniqueness which makes his writings as great as classical Japanese
literary works. One of the studies mentions that Kawabata’sSnow Country(1937) is comparable with a classical Japanese narrative entitledThe Tale of Genji(1021) written by Lady Murasaki Shikibu. It is related to Kawabata’s ability in creating
unforgettable impressions in his writings through “the emphasis on decorative details, such as the scent of perfectly brewed tea or the crane pattern adorning a
kimono” whichare the characteristic of the classic Heian-period monogatari(tale fiction).40 Further, those impressions are able to make Kawabata’s readers
experience the similar effect that is provided by tanka and haiku in the classical Japanese literary works. As mentioned in the following:
By nature,Snow Countryis a kind of ‘lyrical novel’ or ‘prose poem’ in step with classical
Japanese narratives, such as The Tale of Genji. The work lacks a well-defined plot structure. Flashbacks are suddenly mixed in, while relevant information is often left out. The unresolved ending does not give the reader a firm sense of fulfillment or closure. The story is mainly narrated, but not exclusively, from Shimamura’s perspective, although he
is not the narrator. In this mode of perception, the narrative viewpoint solely focuses on the items that Shimamura finds worth noticing, either for an aesthetic value or for mere interest. ...
The reader is therefore expected to appreciate not a series of actions, which would keep
him or her suspended in eager anticipation of the story’s unfolding, but rather beauty
observed in human affairs as well as in seasonal changes of the mountain environment. ... Such an aesthetically charged moment is comparable to what tanka and haiku poems provide in classical Japanese narratives.41
In addition, another study mentions about Kawabata’s ability in using a
loose-fragmented structure of linked verse and a sharp sudden flash of satori in catching natural scenes through hishaiku-style lyrical novel has made his writings so rich of classical taste of Japanese literary works. As it is written in the following quotation:
40
David Pollack, Reading Against Culture: Ideology and Narrative in the Japanese Novel, (Ithaca, NY: Cornell University Press, 1992) 116.
41Masaki Mori, “Kawabata’s Mirrored Poetics
The slight story of a Tokyo Dilettante named Shimamura and his affair with a hot spring geisha called Komako on his periodic visits to the “snow country,” the novel displays
those features for which Kawabata is renowned: a loose, fragmented structure traceable
rengaor linked verse; sharp, fleeting and often startlingly modernistic images taken from reminiscent ofhaikupoetry; a dominance of sensual impressions, especially the sense of touch; and a sad poignant lyricism recalling such Japanese classics asThe Tale of Genji
(from the eleventh century).42
Further, the use of a loose-fragmented structure in Kawabata’s writings is
related to renga as the heritage of Japanese literary tradition.43 This literary tradition regards plot of the story or suji as a decorative thin thread that sews up every part of the story such as: themes, characters, settings and narrative art in a loose knot. As mentioned by Kenkichi Yamamoto in his postscript of 1957 edition of The Sound of the Mountain found in Starrs’ book, this particular fragmented structure of renga-like found in Kawabata’s writings is adopted from the ancient tradition of renga poets who also wrote their works in verse-by-verse style or
ichiku ichiku. In the same sectionof Starrs’ book, Mitsuo Nakamura adds that the structure found in Kawabata’s writings is later called as earthworm-like structure due to the ability of “Kawabata’s writings that can be cut up into any number of parts and still each part can survive on its own”.44As an impact, the readers are still able to understand the grand design of Kawabata’s writings from any parts that they read by using their flowing imagination in completing the missing parts of those writings. Since Kawabata’s writings are parts of the Japanese art convention which influenced by Zen Buddhism teachings, reading his writings is like viewing the Sino-Japanese ink painting called sumi-esince Kawabata acts as
42Iwamoto Yoshio, “The Nobel Prize in Literature,
1967-1987: A Japanese View.”
World Literature Today 62.2 (1988): 217-221.
43
Starrs, Soundings in Time: The Fictive Art of Kawabata Yasunari 174.
44
the painter who uses the blank spaces of his painting to arise the viewers’
imagination in completing the whole image pictured on the painting. Hence, it can be said that Kawabata does not only regard Zen Buddhism as his source of inspiration in writing, but also as part of his character as Japanese writer.45
Another important aspect found is the use of natural elements in
Kawabata’s writings. According to Kawabata, daily events such as chirping birds, falling leaves or even breezing wind can be used as suitable media to express the unexpressed feeling and also as the source of inspiration in writing.46Yet, the use
of natural elements and seasonal words in Kawabata’s writings are not only able
to create aesthetical moments, but also raise the complexity level of his writings especially for his foreign readers who read his writings in non-Japanese translations.47 In addition, it is mentioned that the complexity is related to the traditional view of Japanese literary style that regards silence as the mark of sincerity since sometimes words that are used as the medium in expressing feelings are inadequate to express the real depth of feeling. This statement is aligned with the notions that are mentioned by Kenneth Yasuda and John Gould
Fletcher in Yasuda’s book entitled The Japanese Haiku (2001) which can be found in the quotation below:
When one happens to see a beautiful sunset or lovely flowers, for instance, he is often so
delighted that he merely stands still. This state of mind might be called “ahh-ness” for the
beholder can only give one breath-long exclamation of delight: “Ah!” The object has seized him and he is aware only of the shapes, the colors, the shadow, the blendings...
45
Sansom 336.
46
Starrs, Soundings in Time: The Fictive Art of Kawabata Yasunari 187.
47 Gwenn Boardman Petersen,“Kawabata Yasunari: Snow in the Mirror,”
There is here no time or place explicitly for reflection, for judgments, or for the observer feelings. There is only the speaking, impassioned object, withits “extraordinary powers to set up echoes in the reader’s mind.”48
Further, Kawabata as a Japanese writer who adopts Japanese literary heritage and its art convention also uses natural elements and seasonal words in his writings as the medium to express the unexpressed feeling.49Moreover, Kinya also mentions in Starrs’ book that the natural elements and seasonal words are also used to emphasize the depth of the feeling that Kawabata wants to convey to his readers.
Even though Kawabata’s writings are complicated ones to be understood,
it is mentioned that a careful reading of his writings may offer the readers a unique experience which cannot be found in the West.50It is believed that the particular experience offered by the Japanese literary pieces, especially
Kawabata’s writings, is related to its literary tradition and its art convention that are influenced by Zen Buddhism teachings.51 Since plot and characters in the stories are only regarded as complements due to the use of loose-fragmented structure, Kawabata emphasizes more efforts on the use of lyrical-delicate-language style in writing his stories. The use of lyrical-delicate-lyrical-delicate-language style in
Kawabata’s writings has underlined his special quality as a Japanese writer who preserves the Japanese literary tradition of renga.52Further, it is even said that Kawabata is considered as a truly poet since he has a particular ability to observe
48
Kenneth Yasuda, The Japanese Haiku. (New York: Tuttle Publishing, 2001) 38-39.
49
Starrs, Soundings in Time: The Fictive Art of Kawabata Yasunari 64.
50
Petersen, Critique: Studies in Contemporary Fiction 15.
51
Sansom 336.
52
human life through Japanese traditional spectacles which later offered the readers with the beautiful scenes of ancient Japan that are essential in Japanese literary heritage.53 In addition, his role as a haiku-poet always puts him in deep communion with all living things including the humblest life forms of natural world. The seasonal words which can be found in his writings such as the moon cycle, changing season, scattering of the autumn leaves are used to reflect the passing time and the brevity of human existence in this transient world.54Through the precise detailed depictions of the characters in his stories, Kawabata wants to convey his idea to his readers that the characters in his writings represent ordinary people who only become small parts of a vast natural design of this universe. This idea is emphasized by Kawabata by using anonymous characters in most of his writings which are simply called ‘the woman’, ‘the man’, ‘the husband’, ‘the wife’, ‘the mother’, ‘the father’, ‘the girl’, the boy, the daughter or the son’
without mentioning any particular names. Through the use of those anonymous characters, Kawabata wants to make the readers realize that the things happened in the stories are ordinary things that can also happen to everyone in ordinary life since everything is part of others.55Besides, Kawabata wants to emphasize that those characters represent all human beings who play the same role like other living beings in order to create a good harmony in this transient life. Moreover, they also share the same fate with other living beings as mortal beings which are
53
Petersen, The Moon in the Water: Understanding Tanizaki, Kawabata, and Mishima, (Hawaii: The University Press f Hawaii, 1979) 128.
54
Ivan Morris, rev. of The Sound of the Mountain, by Yasunari Kawabata, The New York Times Book Review 14 June.1970: 5, 27.
55
destined to die.56As aconsequence of Kawabata’s careful observation towards his
surroundings, the characters in his stories leave unforgettable impressions in his
readers’ mindwhich later create a particular experience for his readers as if they were the characters themselves. Later, Kawabata’s writings become so real and
natural since they are so rich with the true colors of human life that are not only filled with joy and laugh, but also with sorrow and tears.
As mentioned that Zen Buddhism has become the essence of the Japanese soul that influences their perspective in seeing the life itself, Zen Buddhism has molded not onlyKawabata’s character as Japanese, but also the way he expresses his perspective in seeing the life itself through his writings.57It can be seen in the way he adopts haikuwhich is part of Japanese art convention in his writings. It is due to the belief that haiku is an expression of enlightenment in which both the writer and the reader see into the life of things naturally.58This notion is aligned with the idea mentioned earlier thathaiku has helped in gainingsatorior spiritual enlightenment.59Further, this notion is related to the belief that the presence of
haikuis able to utter the unspoken Dharma Law which said that everything is part of each other in the Realm of Emptiness. In other word, haiku has become an alternative way of returning people to nature as its natural entities. It means that
haiku has the ability in returning people to their moon nature, to their sakura
nature or in brief, to return them to their Buddha nature due to its role in evoking
56
Suzuki, Zen and Japanese Culture 353.
57
Sansom 336.
58
R. H. Blyth, Haiku, Vol. 1: Eastern Culture, (Tokyo: The Hokuseido Press, 1950) 270.
59
the presence of satori.60Consequently, it is hoped that people will be able to return themselves to their original forms as natural entities of the nature through the presence ofsatori.
Related to the significant role of natural images found in haiku to achieve
satori, it is believed that the enlightenment can also be found naturally anywhere and anytime through natural events found in daily life.61The glimpse of poetry
that can be felt from natural events happened in Kawabata’s writings is aimed to lead the readers in gaining particular experience based on the horizon of expectation that is formed in order to complete the rest of the works. As a result, it is hoped that it can help the readers to gain their own natural enlightenment and later feel the wholeness of life itself. Hopefully, the harmony of life will be achieved as those readers back to their true nature as natural entities which shared the same destiny with others in this transient life.62
Those studies above have emphasized the impact of Zen Buddhism teachings toward Japanese literary tradition and its art convention in form of
Kawabata’s haiku writing style. Unfortunately, those studies only discuss about
Kawabata’s ‘major’ writings which gained International highlights. This fact has
created an awareness to give an equal attention to another form of Kawabata’s
writings called palm-of-the-hand-stories written in English. It will make this study
different since Kawabata’s palm-of-the-hand-stories are often neglected and
60
Blyth 270.
61
Suzuki, Zen and Japanese Culture 376-377.
62
