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"There have been many interpretations over the years of the purpose of this tale. But all of these interpretations have been based not on a consideration of the novel itself but rather on the novel as seen from the point of view of Confucian and Buddhist works, and thus they do not represent the true purpose of the author. To seize upon an occasional similarity in sentiment or a chance correspondence in ideas with Confucian and Buddhist works, and proceed to generalize about the nature of the tale as a whole, is unwarranted. The general appeal of this tale is very different from that of such didactic works. Good and evil as found in this tale do not correspond to good and evil as found in Confucian and Buddhist writings. [...] Generally speaking, those who know the meaning of the sorrow of human existence, i.e., those who are in sympathy and in harmony with human sentiments, are regarded as good; and those who are not aware of the poignancy of human existence, i.e., those who are not in sympathy and not in harmony with human sentiments, are regarded as bad. [...] Since novels have as their object the teaching of the meaning of the nature of human existence, there are in their plots many points contrary to Confucian and Buddhist teachings. This is because among the varied feelings of man's reaction to things—whether good, bad, right, or wrong—there are feelings contrary to reason, however improper they may be. Man's feelings do not always follow the dictates of his mind. They arise in man in spite of himself and are difficult to control. In the instance of Prince Genji, his interest in and rendezvous with Utsusemi, Oborozukiyo, and the Consort Fujitsubo are acts of extraordinary iniquity and immorality according to the Confucian and Buddhist points of view. It would be difficult to call Prince Genji a good man, however numerous his other good qualities. But The Tale of Genji does not dwell on his iniquitous and immoral acts, but rather recites over and over again his awareness of the sorrow of existence, and represents him as a good man who combines in himself all good things in men."

- Murasaki Shikibu

• 0 likes• Memoirists• People from Kyoto• Poets from Japan• Novelists from Japan• Buddhists from Japan•
"The Tale of Genji quite clearly breaks in two with Genji's death, but there is an earlier break, as Genji goes into his middle and late forties. If the book may thus be thought of as falling into three parts, the first part still has a great deal of the tenth century in it. The hero is an idealized prince, and, though there are setbacks, his early career is essentially a success story. [...] Then, some two-thirds of the way through the sections dominated by Genji, there comes a tidying up and packing away of things, as by someone getting ready to move on, and the matter of the last eight chapters before Genji's disappearance from the scene is rather different. Enough of romancing, Murasaki Shikibu seems to say, and one may imagine that she is leaving her own youth behind, the sad things are the real things. Shadows gather over Genji's life. The action is altogether less grand and more intimate, the characterization more subtle and compelling, than in the first section. Then, suddenly, Genji is dead. [...] Once more, and very boldly this time, Murasaki Shikibu has moved on. After the three transitional chapters come what are generally called the Uji chapters. The pessimism grows, the main action moves from the capital to the village of Uji, both character and action are more attenuated, and Murasaki Shikibu has a try, and many will say succeeds, at a most extraordinary thing, the creation of the first anti-hero in the literature of the world."

- Murasaki Shikibu

• 0 likes• Memoirists• People from Kyoto• Poets from Japan• Novelists from Japan• Buddhists from Japan•
"A boy of ten or eleven has a few great sexual experiences—he thinks they’re great—but then he has the bad luck to get caught and get in trouble. They try to persuade him by punishment and other explanations that some different behavior is much better, but he knows by the evidence of his senses that nothing could be better. … The basic trouble here is that they do not really believe he has had the sexual experience. That objective factor is inconvenient for them; therefore it cannot exist. … The sensible course would be to accept it as a valuable part of further growth. But if this were done, they fear that the approved little hero would be a rotten apple to his peers, who now would suddenly all become precocious, abnormal, artificially stimulated, and prone to delinquency. The sexual plight of these children is officially not mentioned. The revolutionary attack on hypocrisy by Ibsen, Freud, Ellis, Dreiser, did not succeed this far. … The question here is not whether the sexuality should be discouraged or encouraged. That is an important issue, but far more important is that it is hard to grow up when existing facts are treated as though they do not exist. For then there is no dialog, it is impossible to be taken seriously, to be understood, to make a bridge between oneself and society."

- Paul Goodman

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"As Frederic Thrasher says in The Gang, “Other things being equal, the imaginative boy has an excellent chance to become the leader of the gang. He has the power to make things interesting for them.” … After a disastrous week when there were several juvenile murders, the Governor of New York made the following statement (New York Times, September 2, 1959): “We have to constantly devise new ways to bring about a challenge to these young folks and to provide an outlet for their energies and give them a sense of belonging.” … The gist of it is that the Governor of New York is to play the role that Thrasher assigns to the teen-age gang leader. He is to think up new “challenges.” … But it is the word “constantly” that is the clue. A challenge can hardly be worth while, meaningful, or therapeutic if another must constantly and obsessively be devised to siphon off a new threat of “energy.” … Solidly meeting real needs does not have this character. My guess is that in playing games the Governor will not have so lively an imagination as the lad he wants to displace as leader; unlike the grownups, the gang will never select him. One of the objective factors that make it hard to grow up is that Governors are likely to be men of mediocre human gifts."

- Paul Goodman

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