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Japanese commonly use proverbs, often citing just the first part of common phrases for brevity. For example, one might say i no naka no kawazu (井の中の蛙, 'a frog in a well') to refer to the proverb i no naka no kawazu, taikai o shirazu (井の中の蛙、大海を知らず, 'a frog in a well cannot conceive of the ocean').
Hana wa sakuragi, hito wa bushi (Japanese: 花は桜木人は武士, literally "the [best] blossom is the cherry blossom; the [best] man is the warrior") is a Japanese proverb that originated in the medieval period. [1] It is also rendered as "among blossoms the cherry blossom, among men, the warrior" or likewise.
A replica of a Man'yōshū poem No. 8, by Nukata no Ōkimi. The Man'yōshū (万葉集, pronounced [maɰ̃joꜜːɕɯː]; literally "Collection of Ten Thousand Leaves") [a] [1] is the oldest extant collection of Japanese waka (poetry in Old Japanese or Classical Japanese), [b] compiled sometime after AD 759 during the Nara period.
Japanese woodblock print showcasing transience, precarious beauty, and the passage of time, thus "mirroring" mono no aware [1] Mono no aware (物の哀れ), [a] lit. ' the pathos of things ', and also translated as ' an empathy toward things ', or ' a sensitivity to ephemera ', is a Japanese idiom for the awareness of impermanence (無常, mujō), or transience of things, and both a transient ...
The Iroha (いろは) is a Japanese poem. Originally the poem was attributed to Kūkai, the founder of Shingon Buddhism, but more modern research has found the date of composition to be later in the Heian period (794–1179). [1]
The Ogura Hyakunin Isshu has been translated into many languages and into English many times. English translations include: F. V. Dickins, Hyaku-Nin-Isshu, or Stanzas by a Century of Poets (1866) Clay MacCauley, Hyakunin-isshu (Single Songs of a Hundred Poets), TASJ, 27(4), 1–152 (1899) Yone Noguchi, Hyaku Nin Isshu in English (1907) [11]
Walk down Reader's Digest memory lane with these quotes from famous people throughout the decades. The post 100 of the Best Quotes from Famous People appeared first on Reader's Digest.
In a review of the English translation, novelist Ian Thomson called it a "pulp noir" and a "sexy, camp delight", but also noted that, "beneath the hard-boiled dialogue and the gangster high jinks is a familiar indictment of consumerist Japan and a romantic yearning for the past." [214]