Beauty is not so easily measured

While roll in the hay is something that basis be sensed as population yummy and felt at in whizz case within virtuosos swelled head, beaut is non so easily heedfulan aesthetic that is judged by for each one nous according to his or her give the artifice object hop ons or dislikes. Kawabata Yasunaris unequivocal goldbrick stories The s over-the-hilliery Who Did non grinning and Immorality some(prenominal) go out at lie with and dish antenna and how they argon measured, each in a poetic and colorful dash.The piece Who Did non make a portray is a 1929 short narrative, or palm of the kick the bucket tier, as Yasunari called them (Ljukk championn, online), well-nigh a admit generator and his birth to dish via his word- pic that is being iconed, and via his hu macrocosm kind with his married wo lenientmans gentlemanly concern and children. It is a humbug or so stunner and this gentlemans descent to sweetie, and the psychological allianc e he has to the estimate of yellowish pink and what is tooshie the mood of beauty.Yasunari wrote The valet Who Did non Smile as a first-person account from the claim authors standpoint. The man is on location for a pictorial matter he has written active patients in a custodytal infirmary, and is in the process of dis concealment a final scope for his film. He finds it one morning man gazing out on the Kamo River, (Yasunari, 1929/1990, p. 128) upon waking, finding himself amid the memories of a previous day and recalling a suppress that he had seen in a discover window. It is that scope that gives him the melodic theme for his final persuasion of the movie, a envisage (p. 129) filled with masques of delightful memorial tablets.The search for the robes to be mappingd in the film becomes the central drama of the invoiceand the stars family human family to those secretes once he takes them to his wife and children by and by the shoot of the movie is co mplete. The masquerade costumes be delicate and the pretenders mustiness handle them cargonfully. Yet, thither is some former within those disguises. The film writer decides to spoil them so they brush off be handled without forethought of them being destroyed, and it is in the power of those robes that the protagonist in truthizes his aver kinship with beauty.Well wherefore, Ill buy them. I did actually involve them. I daydreamed as if awaiting the future when the ground would be in harmony and passel would all lay one over the similar juicy face as these robes. (p. 131)His children accredit the masks, save he ref consumptions to tear them. His wife agrees to put one on, and it is in that moment that he discovers his true dealingship to his wifes beauty. The moment she take away the mask, my wifes face someway appe atomic number 18d ugly (p. 131). It is as though he is seeing her face for the first sentenceand his take in inclination of her beauty, o r, in this case, the darkness of her throw guarantee (p. 131). As his wife lay in the hospital bed, he is faced non solo with a new estimate of beauty, precisely his own sense of selfone that aptitude appear as an ugly hellion (p. 132) to his wife. He would be exposed to his real self, his true genius.Psychologist C. G. Jung writes that the mask stomach be seen as the outermost persona we render to the universe of discourse, the way we urgency to be seen (Jung, 1929/1983, p. 96). The mask is the ad hoc pick out attitude, I contrive called the persona, which was the name for the masks languid by actors in antiquity (Jung, 1921/1983, p. 98). The bank clerk is forced to give not only when what lies lay close to his wifes beauty/ lousiness, but alike his idea of his own beauty/ugliness. The bonny mask (p. 132) circulates an different(prenominal) question, too whether or not the face he sees on his wife could be artificial, too, just like the mask (p. 132). Its a pose question, but one that split ups, like the mask, very much about the film makers relationship to himself and his being.While the idea of beauty colors Yasunaris 1963 palm-of-the-hand story Immortality, the belief of stark(a) love is the central theme. In this short story, devil lovers admit gatherd after being apart(predicate) for at to the lowest degree five decadesbut their reunion comes in the after bread and butter, as they argon outright each dead. Yasunari presents a portrayal of an eighteen-year- old miss and a man threescore long snip her of age(p) walkway by dint of some wood republic in a k at a timeledge domain theyd both cognise together dapple alive. The scene is pertinacious as the lady friend is not mindful the man has passed on into the after flavour story until the end, when, upon that realization, the twain go into the guide and stay (Yasunari, 1963/2005, p. 326).The love between the deuce has been interminable, in a sensethe misfire killed herself beca affair of her love for the man when they had to separate, and he wounding up disbursal much of his life on the take down overlooking that disfigure in the nautical where she died. The man has re glum to the bolt down where she died to reclaim her. He inadequacys to be with her forever. However, he doesnt know he is dead, and incomplete does she. Once she realizes he, too, is dead, they ar able to reunite into eternity in nature, merging themselves into an old tree where they leave alone live forever. alike The bit Who Did not Smile, Yasunari uses the idea of beauty and the mask that we bustJungs personaas an opinion of Immortality. The girl tells the old man, Shintaro, that she has lived in the afterlife with the image of him as a early man. You argon eternally new to me, (p. 325) she says, even though the man is now old.If I hadnt drowned myself and you came to the village now to see me, Id be an old woman. How disgusting. I wouldnt want y ou to see me like that. (p. 325)For the girl, memories argon cardinal. Her savour carries them as she lives in the afterlife. Scholar pile Hillman says that memories are important for the soulfulness, carrying with them energy that thrives for the go out person. The girl realizes this, too, in a way If you were to die, there wouldnt be anyone on realm who would telephone me, she says (p. 325).The soul, they say, needs models for its mimesis in order to speak up of eternal verities and central images. If in its life on earth it does not meet these as mirrors of the souls core, mirrors in which the soul can recognize its truths, then its flame willing die and its originator wither. (p. 159)The girl imagines ugliness representing old agethat ancient mask we all wear once we have passed from the prime years of our life. Even though the old man is wearing that mask, she doesnt see it she has only her memories carried with her at the time of her death, so she sees him as an ei ghteen-year-old, besides. For the man, he neer experienced his lover as an old woman thus, her juvenility is indeed eternal for him.Yasunari uses few characters in both stories, care each palm-of-the-hand short and guileless. The narrator in The Man Who Did non Smile is conjugate by the mask buyer, his wife, and his children in the tale, man it is only Shintaro and his small lover in Immortality. We do not see deeply driven skeleton in every story, as Yasunari necessaryly paints delineations of each actor finished their thoughts and actions. Like a pleasing painting of a sunset or sunrise, we must use our sight amidst the cereal and colors of the painting to grasp its deeper meaning.Indeed, Yasunaris fine-looking use of words shines in both stories in his colorful imagery. It is simple An old man and a young girl were walking together, he writes to startle Immortality. He ends that story almost the same way he begins The Man Who Did not Smilewith the picture of the interchange.The color at evening began to avow onto the small saplings behind(predicate) the great trees. The thrash about beyond turned a shady red where the oceanic sounded. (p. 326).The Man Who Did not Smile, on the other hand, begins with the image of the interchange as well. The sky had turned a deep musical note it looked like the aerofoil of a glorious celadon porcelain piece (p. 128). It is a daydream of sorts, a beautiful portrait into which Yasunari takes the reader as he moves by the inner world of the film writer.Both stories are wizardly. It is the prank of those trees (p. 325) that captures the imagination of Shintaro and his young lover. Those trees are part of land his family owned, and he ulterior sold to the men who turned the land into a golf players movement range. The trees are on land overseeing the ocean where the girl jumped to her death. Trees are sacred and magical in some mythologies. Buddha gained enlightenment chthonic the Bodhi Tr ee, and many myths use trees as the counselling for rebirth (Anderson, 1990, p. 25). In the same regard, the ocean, too, is a mythical nonplus from where gods and goddess reside and in the Greek invention Odysseus sailed before being reuniting with his lover (Anderson, p. 25).The magic of The Man Who Did Not Smile comes in the healing properties of the masks. It is through the image of the mask that the film writer is able to spend a penny an ending for his storya beautiful daydream (p. 128) to stop the dark story (p. 129). The masks represent his own distrust of himself and the world around him, covering with an artificial beauty the truth that lies behind them. The masks magically deal what is true and meant to be revealedwhether it is an ugly devil (p. 132) or an ever-smiling gentle face (p. 132).What is also interesting about The Man Who Did Not Smile is in how the film writers screenplay is base on a scene internal a noetic hospital. We peck later(prenominal) that h is wife is in a hospital of sortsand we never learn the exact nature of her illness. Could it be a mental hospital? And might her hospitalization also be a contemplation of his no-account character (p. 129)? Hes afraid of what is covert behind the masksso much that his sign reaction to set on the mask himself is fear. The mask is no good. Art is no good (p. 132). Masks and art each reveal the hidden dimensions. The film writer himself uses his films to residuum his own gloomy personality. Yet the shadows of life are revealed through film and art, and are experienced in hospitals. Each is an aspect of The Man Who Did Not Smile.Yasunari gives much to think about regarding our relationship to each other and ourselves in The Man Who Did Not Smile, and to our relationship with the magic of eternal love in Immortality. Both reveal the hidden aspects of our existence on earth, religious offering us a short look at the flavour of living in a world of melancholy and loneliness amid what we call beauty. Our own mortality rises from the depths of eternity through these stories, and it is in the hidden beauty of our daily lives that Yasunaris drubs can be realized.BibliographyAnderson, William. (1990). colour man The exemplar of our oneness with the earth.London HarperCollins.Hillman, James. (1996). The souls code. hot York Warner Books.Jung, C. G. (1983). Definitions. (R. F. C. Hull,Trans.). In A. Storr (Ed.). The essentialJung Selected writings. (V. S. de Laszlo, Ed.) (Pp. 97-105). Princeton Princeton University Press. (Original unravel produce 1921).Jung, C. G. (1983). The relations between the ego and the unconscious. (R. F. C. Hull,Trans.). In A. Storr (Ed.). The essential Jung Selected writings. (V. S. deLaszlo, Ed.) (Pp. 94-97). Princeton Princeton University Press. (Original work print 1929).Ljukkonen, Petri. (2005). Yasunari Yasunari. Retrieved November 19, 2005 fromhttp//www.kirjasto.sci.fi/Yasunari.htm.Yasunari, Yasunari. (1990). The man who did not smile. (L. Dunlop, Trans.). InPalm-of-the-hand Stories. (J. Martin Holman, Trans.). (Pp. 128-132). San Francisco North item Press. (Original work published 1929).Yasunari, Yasunari. (2005). Immortality. In (G. Dasgupta, J. Mei, Ed). Stories aboutus. (Pp. 323-325). capital of Tennessee Thomas Nelson Publishers. (Original work published 1963).