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[2] The word "arirang" itself is nonsensical and does not have a precise meaning in Korean. [25] While the other lyrics vary from version to version, the themes of sorrow, separation, reunion, and love appear in most versions. [4] [26] The table below includes the lyrics of "Standard Arirang" from Seoul. The first two lines are the refrain.
Armenian lullabies of the modern era, from the Urban Folk genre, include Ari, Im Sokhak (Come, My Nightingale), Anush Knik (Sweet Sleep), and Nazei Oror (Lullaby of Naze), the latter telling of the horrors of the Armenian genocide: The caravan passed With a burden of tears And in the black desert Fell to its knees Exhausted Ah, with the pain of ...
Kireji (切れ字, lit. "cutting word") are a special category of words used in certain types of Japanese traditional poetry. It is regarded as a requirement in traditional haiku, as well as in the hokku, or opening verse, of both classical renga and its derivative renku (haikai no renga).
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 jisei, or death poem, of Kuroki Hiroshi, a Japanese sailor who died in a Kaiten suicide torpedo accident on 7 September 1944. It reads: "This brave man, so filled with love for his country that he finds it difficult to die, is calling out to his friends and about to die".
Even though the kijin and onryō of Japanese Buddhist faith have taken humans' lives, there is the opinion that there is no "death god" that merely leads people into the world of the dead. [6] In Postwar Japan , however, the Western notion of a death god entered Japan, and shinigami started to become mentioned as an existence with a human nature.
The practice of performing seppuku at the death of one's master, known as oibara (追腹 or 追い腹, the kun'yomi or Japanese reading) or tsuifuku (追腹, the on'yomi or Chinese reading), follows a similar ritual. The word jigai (自害) means "suicide" in Japanese.
"Saigo no Iiwake" has been covered by Midori Karashima, Satoshi Furuya, Ruru Honda, and Junko Yamamoto. Outside Japan, the song became popular in the Philippines, when it was covered by Ted Ito as "Ikaw Pa Rin", Keempee de Leon as "My One and Only", Maso as "Kailanman" in Tagalog and "Come Back Home" in English, and as an instrumental by saxophonist Jake Concepcion.