Japan Sad Quotes

Sometimes, when we are sad, we have to do the opposite of sad. Sometimes we have to sing.

Although the cricket's song has no words, still, it sounds like sorrow.

Pudge/Colonel: "I am sorry that I have not talked to you before. I am not staying for graduation. I leave for Japan tomorrow morning. For a long time, I was mad at you. The way you cut me out of everything hurt me, and so I kept what I knew to myself. But then even after I wasn't mad anymore, I still didn't say anything, and I don't even really know why. Pudge had that kiss, I guess. And I had this secret. You've mostly figured this out, but the truth is that I saw her that night, I'd stayed up late with Lara and some people, and then I was falling asleep and I heard her crying outside my back window. It was like 3:15 that morning, maybe, amd I walked out there and saw her walking through the soccer field. I tried to talk to her, but she was in a hurry. She told me that her mother was dead eight years that day, and that she always put flowers on her mother's grave on the anniversary but she forgot that year. She was out there looking for flowers, but it was too early-too wintry. That's how I knew about January 10. I still have no idea whether it was suicide. She was so sad, and I didn't know what to say or do. I think she counted on me to be the one person who would always say and do the right things to help her, but I couldn"t. I just thought she was looking for flowers. I didn't know she was going to go. She was drunk just trashed drunk, and I really didn't think she would drive or anything. I thought she would just cry herself to sleep and then drive to visit her mom the next day or something. She walked away, and then I heard a car start. I don't know what I was thinking. So I let her go too. And I'm sorry. I know you loved her. It was hard not to." Takumi

Mia, stop!" My voice bounces off her bedroom walls. "We are not in high school anymore!" She looks at me, a question hanging in the air. "Look, my tour doesn't start for another week." A feather of hope starts to float across the space between us. "And you know, I was thinking I was craving some sushi." Her smile is sad and rueful, not exactly what I was going for. "You'd come to Japan with me?" "I'm already there.

How beautiful life is and how sad! How fleeting, with no past and no future, only a limitless now.

In Snow Country, Yasunari Kawabata, the first of Japan’s two Nobel laureates, describes the sad and sorry love affair of a geisha from the country and an intellectual from the city. It’s

the story of Issa, the eighteenth-century Haiku poet from Japan. Through a succession of sad events, his wife and all his five children died. Grieving each time, he went to the Zen Master and received the same consolation: “Remember the world is dew.” Dew is transient and ephemeral. The sun rises and the dew is gone. So too is suffering and death in this world of illusion, so the mistake is to become too engaged. Remember the world is dew. Be more detached, and transcend the engagement of mourning that prolongs the grief. After one of his children died, Issa went home unconsoled, and wrote one of his most famous poems. Translated into English it reads,      The world is dew.      The world is dew.      And yet.      And yet.

When people are sad they usually make such unreasonable requests that, deity though I am, I am unable to fulfill them. Some pray to be made rich overnight. Some covet other people's wives. Some want to kill the people they hate. Some want the rain changed to sunny weather. Some even want the nose they were born with to be a little bigger. Everyone wants something else. They all pray in vain to Buddha and to the gods, even though their requests cannot possibly be granted, thus making nuisances of themselves.

Westerners are very beautiful, aren’t they?” he said. Sanshirō could think of nothing to say in reply. He nodded and smiled. “We Japanese are sad-looking things next to them. We can beat the Russians, we can become a ‘first-class power,’ but it doesn’t make any difference. We still have the same faces, the same feeble little bodies. Just look at the houses we live in, the gardens we build around them. They’re just what you’d expect from faces like this. —Oh yes, this is your first trip to Tokyo, isn’t it? You’ve never seen Mount Fuji. We go by it a little farther on. Have a look. It’s the finest thing Japan has to offer, the only thing we have to boast about. The trouble is, of course, it’s just a natural object. It’s been sitting there for all time. We didn’t make it.

Doing time is a real test of friendship. None of my old friends passed that test. Maybe none of them had even noticed that I was missing. To me, that made it even more special that people I had never met before came to visit me and did stick by me. Most of the travellers who had visited me were just passing through La Paz and couldn’t visit more than once or twice. However, many of them stayed in contact by letters and email. I glued the postcards they sent me from all over the world onto my wall. I received mail from the United States, Australia, Canada, Germany, England, Israel, Turkey and Japan. Whenever I felt sad, I would read what the tourists had written to me, and I would soon feel better again. Even though I only met many of these people once, I knew that they were real friends. You know how? I had nothing to give them. I couldn’t give them money, I couldn’t give them status, I couldn’t take them to fancy places and buy drinks for them. All I had were my stories and who I was, and that was enough for them to want to stay in contact. For the first time in my life, that was enough.

Kamimura has been whispering all week of a sacred twenty-four-hour ramen spot located on a two-lane highway in Kurume where truckers go for the taste of true ramen. The shop is massive by ramen standards, big enough to fit a few trucks along with those drivers, and in the midafternoon a loose assortment of castaways and road warriors sit slurping their noodles. Near the entrance a thick, sweaty cauldron boils so aggressively that a haze of pork fat hangs over the kitchen like waterfall mist. While few are audacious enough to claim ramen is healthy, tonkotsu enthusiasts love to point out that the collagen in pork bones is great for the skin. "Look at their faces!" says Kamimura. "They're almost seventy years old and not a wrinkle! That's the collagen. Where there is tonkotsu, there is rarely a wrinkle." He's right: the woman wears a faded purple bandana and sad, sunken eyes, but even then she doesn't look a day over fifty. She's stirring a massive cauldron of broth, and I ask her how long it's been simmering for. "Sixty years," she says flatly. This isn't hyperbole, not exactly. Kurume treats tonkotsu like a French country baker treats a sourdough starter- feeding it, regenerating, keeping some small fraction of the original soup alive in perpetuity. Old bones out, new bones in, but the base never changes. The mother of all ramen. Maruboshi Ramen opened in 1958, and you can taste every one of those years in the simple bowl they serve. There is no fancy tare, no double broth, no secret spice or unexpected toppings: just pork bones, noodles, and three generations of constant simmering. The flavor is pig in its purest form, a milky broth with no aromatics or condiments to mitigate the purity of its porcine essence.

The attachment voids experienced by immigrant children are profound. The hardworking parents are focused on supporting their families economically and, unfamiliar with the language and customs of their new society, they are not able to orient their children with authority or confidence. Peers are often the only people available for such children to latch on to. Thrust into a peer-oriented culture, immigrant families may quickly disintegrate. The gulf between child and parent can widen to the point that becomes unbridgeable. Parents of these children lose their dignity, their power, and their lead. Peers ultimately replace parents and gangs increasingly replace families. Again, immigration or the necessary relocation of people displaced by war or economic misery is not the problem. Transplanted to peer-driven North American society, traditional cultures succumb. We fail our immigrants because of our own societal failure to preserve the child-parent relationship. In some parts of the country one still sees families, often from Asia, join together in multigenerational groups for outings. Parents, grandparents, and even frail great-grandparents mingle, laugh, and socialize with their children and their children's offspring. Sadly, one sees this only among relatively recent immigrants. As youth become incorporated into North American society, their connections with their elders fade. They distance themselves from their families. Their icons become the artificially created and hypersexualized figures mass-marketed by Hollywood and the U.S. music industry. They rapidly become alienated from the cultures that have sustained their ancestors for generation after generation. As we observe the rapid dissolution of immigrant families under the influence of the peer-oriented society, we witness, as if on fast-forward video, the cultural meltdown we ourselves have suffered in the past half century. It would be encouraging to believe that other parts of the world will successfully resist the trend toward peer orientation. The opposite is likely to be the case as the global economy exerts its corrosive influences on traditional cultures on other continents. Problems of teenage alienation are now widely encountered in countries that have most closely followed upon the American model — Britain, Australia, and Japan. We may predict similar patterns elsewhere to result from economic changes and massive population shifts. For example, stress-related disorders are proliferating among Russian children. According to a report in the New York Times, since the collapse of the Soviet Union a little over a decade ago, nearly a third of Russia's estimated 143 million people — about 45 million — have changed residences. Peer orientation threatens to become one of the least welcome of all American cultural exports.

It’s sad to say, but it is much easier selling, for example, a crap Brazilian than a brilliant Mexican. The Brazilian gets across the image of happiness, party, carnival. Irrespective of talent, it is very seductive to have a Brazilian in your team.

Not only has Japan developed with an impossibly small supply of cultivable land per capita, but large swathes of that land have been relentlessly gobbled up by its urban and industrial development. This trend has long been exacerbated by a cultural aversion to high-rise building. The insistence on low-rise, sadly, has done nothing to make modern Japanese construction more attractive.

As the bell rang he would look back at the departing year. He always found it a moving experience. Sometimes he was racked by sorrow and regret. Even when the sentimentality of the announcers repelled him, the tolling of the bells echoed in his heart.

Matajura wanted to become a great swordsman, but his father said he could never learn, because he wasn’t quick enough. So Matajura went to the famous dueler Banzo and asked to become his pupil. “How long will it take me to become a master?” he asked. “Suppose I become your servant, to be with you every minute, how long?” “Ten years,” said Banzo. “My father is getting old,” pleaded Matajura. “Before ten years have passed I will have to return home to take care of him. Suppose I work twice as hard. How long will it take me?” “Thirty years,” said Banzo. “How is that?” asked Matajura. “When I offer to work twice as hard, you say it will take three times as long. Let me make myself clear. I will work unceasingly. No hardship will be too much. How long will it take?” “Seventy years,” said Banzo. “A pupil in such a hurry learns slowly.” Matajura understood. Without asking for any promises in terms of time, he became Banzo’s servant. Three years passed. Matajura cleaned, cooked, washed, and gardened. He was ordered never to speak of fencing or to touch a sword. He was very sad at this, but he had given his promise to the master and resolved to keep his word. One day while Matajura was gardening, Banzo came up quietly behind him and gave him a terrible whack with a wooden sword. The next day in the kitchen, the same blow fell again. Thereafter, day in and day out, from every corner and at any moment, Matajura was attacked by Banzo’s wooden sword. He learned to live on the balls of his feet, ready to dodge at any moment. He became a body with no desires, no thought, only external readiness and quickness. Banzo smiled and started lessons. Soon, Matajura was the greatest swordsman in Japan. THE

Lily, when I tell my story, I am sad. So much of our family story is sad. And more than that: so much of Korean people story is sad. Long, long ago, Japan and United States people do wrong things to our country. But I don’t want to give you sad, angry stories. I don’t want to pass you those bad feelings.” Listening to her talk, I realize there is so much of the world that I don’t know. So much of my history, and so much of me. But I will learn it. Because even though the tiger’s stories upset me, I’m glad I heard them. They made me feel like the world is huge, and I’m filled up with it. Like I could hear the stars, and listen.

The games we have become familiar, and striven to compete. Yet the subtlety of gaining position is harder to achieve. We can never fully embrace that moment of success...from the outset it is a male-dominated leaning we sadly fail to address. No matter how we try, we cannot assimilate. On principle we are not one of them.

Japanese tragedy illustrates this aspect of the Trinity better than Greek tragedy, Kitamori taught, because it is based on the feeling expressed by the word tsurasa. This is the peculiar pain felt when someone dies in behalf of another. yet the term implies neither bitterness nor sadness. Nor is tsurasa burdened with the dialectical tension in the struggle with fate that is emphasized in Greek drama, since dialectic is a concept foreign to Japan. Tsurasa is pain with resignation and acceptance. Kitamori called our attention to a Kabuki play, The Village School. The feudal lord of a retainer named Matsuo is defeated in battle and forced into exile. Matsuo feigns allegiance to the victor but remains loyal to his vanquished lord. When he learns that his lord's son and heir, Kan Shusai, has been traced to a village school and marked for execution, Matsuo resolves to save the boy's life. The only way to do this, he realizes, is to substitute a look-alike who can pass for Kan Shusai and be mistakenly killed in his place. Only one substitute will likely pass: Matsuo's own son. So when the enemy lord orders the schoolmaster to produce the head of Kan Shusai, Matsuo's son consents to be beheaded instead. The plot succeeds: the enemy is convinced that the proffered head is that of Kan Shusai. Afterwards, in a deeply emotional scene, the schoolmaster tells Matsuo and his wife that their son died like a true samurai to save the life of the other boy. The parents burst into tears of tsurasa. 'Rejoice my dear,' Matsuo says consolingly to his wife. 'Our son has been of service to our lord.' Tsurasa is also expressed in a Noh drama, The Valley Rite. A fatherless boy named Matsuwaka is befriended by the leader of a band of ascetics, who invites him to accompany the band on a pilgrimage up a sacred mountain. On the way, tragically, Matsuwaka falls ill. According to an ancient and inflexible rule of the ascetics, anyone who falls ill on a pilgrimage must be put to death. The band's leader is stricken with sorrow; he cannot bear to sacrifice the boy he has come to love as his own son. He wishes that 'he could die and the boy live.' But the ascetics follow the rule. They hurl the boy into a ravine, then fling stones and clods of dirt to bury him. The distressed leader then asks to be thrown into the ravine after the boy. His plea so moves the ascetics that they pray for Matsuwaka to be restored to life. Their prayer is answered, and mourning turns to celebration. So it was with God's sacrifice of his Son. The Son's obedience to the Father, the Father's pain in the suffering and death of the Son, the Father's joy in the resurrection - these expressions of a deep personal relationship enrich our understanding of the triune God. Indeed, the God of dynamic relationships within himself is also involved with us his creatures. No impassive God, he interacts with the society of persons he has made in his own image. He expresses his love to us. He shares in our joys and sorrows. This is true of the Holy Spirit as well as the Father and Son... Unity, mystery, relationship - these are the principles of Noh that inform our understanding of the on God as Father, Son, and Spirit; or as Parent, Child, and Spirit; or as Creator, Redeemer, Sanctifier...this amazing doctrine inspires warm adoration, not cold analysis. It calls for doxology, not definition.

What is yarusenai? It's that one email you never replied to and will never open. It's the bad advice you gave and the phone call you should have made and everything that came out of it. It's thinking about the friends that you suspect you might have been able to save.

Sadly, the original manuscript of Gorin-no-sho no longer exists. According to Terao Magonojō, it was destroyed in a castle fire, possibly the Edo Castle fire of 1657 or the Yashiro Castle fire in Kyushu in 1672. Musashi never titled the five scrolls Gorin-no-sho. He named each individual scroll as one of the five elements. It was Nagaoka Naoyuki and Toyota Masakata who conceived Gorin-no-sho as a shorthand title in their notes, and this designation stuck. As for the use of the “five elements” (gorin), it was not Musashi’s intention to appropriate the idea from Buddhist philosophy. In Heihō Sanjūgo-kajō, he had already referred to the heart or mind of the warrior as being comparable to the properties of “Water.” He also wrote briefly of the “Ether” as a state of high attainment and clarity, but not in the Buddhist sense of Nirvana. It was more like figuratively piercing through the clouds of confusion and being exposed to the boundless clear sky.46 Moreover, he had discussed the “Wind” of other schools in previous texts. Wind is a term in Japanese indicating “type” or “appearance.” Adopting “Earth” to explain the basis of his school, and “Fire” to represent what happens in the heat of battle and dueling, probably seemed convenient and oddly prophetic.

One haiku hints at both the joys and sadness of a solitary monk on a pilgrimage in the winter: Even in my empty begging bowl A piece of hail.

This was no longer the Sarah who was unable to stop herself from making phone calls and then not saying a word, who was hurt so much by her memories that she ended up crying. This was the levelheaded Sarah I knew. “Well, take care. I've got to go back to the room,” Sarah said. “Okay. . . . Good-bye then,” I replied. I was now totally awake. The patch of sky visible through the window was a strange wash of subtle gradations of cloud and blue, and the interior of the room was very bright. Some-how that brightness felt terribly sad. What strange weather, I thought. “Sarah, I hope you'll be happy—I really hope you'll be happy!” “Thanks, Shi-ba-mi,” Sarah said. And then the line went dead. I settled into a strange mood—it felt as if I'd seen something through to its conclusion, but at the same time I felt overwhelmingly sad. It occurred to me once again how incredible Mari was. To think she'd figured out that Sarah was back in Japan just from listening to a silent phone call! There hadn't been the slightest hint of uncertainty in her eyes when she told me it was Sarah. She had known. Yes . . . perhaps Mari, wandering in the interval between dream and reality as she was, perhaps she could sense that much, figure out who was calling almost before she knew it, feel it as clearly as something she held cupped in her hand.

A fire station in Tagajo received calls to places where all the houses had been destroyed by the tsunami. The crews went out to the ruins anyway, prayed for the spirits of those who had died—and the ghostly calls ceased. A taxi in the city of Sendai picked up a sad-faced man who asked to be taken to an address that no longer existed. Halfway through the journey, the driver looked into his mirror to see that the rear seat was empty. He drove on anyway, stopped in front of the leveled foundations of a destroyed house, and politely opened the door to allow the invisible passenger out at his former home.

He was awake; it seemed like a long time, all dressed, sitting deep in the armchair, small with a grey face. I stopped at the room entrance in silence, swallowed my words, and thought that maybe he didn’t even go to sleep that night. His facial colour reminded me of a teacher, dying from cancer. ‘Grandpa, what’s wrong? What’s wrong with you? Mother is coming home, did you hear?’ I came closer and touched his hand. It was colder than usual, and the frost went down my back. ‘Do you hear me? What’s wrong with you?’ I asked, and he was silent. Suddenly, I understood everything.” (-- Angelika Regossi, “Love in Communism. A Young Woman’s Adult Story”. Chapter 5: University of Life) “‘Let me tell you this way. In the academy, we were told to marry early, before we go on the first shift. My first shift starts in a few months in July. I shall be half a year under the water in the submarine, carrying nuclear weapons. They advise us to marry and to make children as soon as possible because who knows what will be on that shift. Also, I told you about the radiation. I know submariners’ who cannot make children because of the radiation on the ship,’ said Prohor. ‘How to explain to you, my girl? To make children, a man needs an erection but the radiation kills it. I am afraid until I reach the rank of admiral, I shall be impotent … unable to make children …,’ Prohor told sadly from his bed.” (-- Angelika Regossi, “Love in Communism. A Young Woman’s Adult Story”. Chapter 6: Fiance from Submarine) “So, it happened there; between the two biggest islands of two big enemies, Japan and the USSR. ‘Now I recall that Prohor praised that they can attack unexpectedly from a submarine, from under the water, with nuclear rockets.’ I was astonished that I knew all these things, which earlier had never interested me.” (-- Angelika Regossi, “Love in Communism. A Young Woman’s Adult Story”. Chapter 7: Between Two Men) “‘Do you remember what I told you before I died? You promised me to think big! My little star, if you think big, you will become big! Use my diamonds and the wall clock to become big! Dream big, Anfisa—and you will be more than just a wife to a man. ‘But remember, you have to take diamonds and the clock outside the USSR, where they value these things.’ I heard my grandfather’s voice live, close, but I didn’t see him.” (-- Angelika Regossi, “Love in Communism. A Young Woman’s Adult Story”. Chapter 8: Earner Marriage No. 1)

He was awake; it seemed like a long time, all dressed, sitting deep in the armchair, small with a grey face. I stopped ast the room entrance in silence, swallowed my words, and thought that maybe he didn’t even go to sleep that night. His facial colour reminded me of a teacher, dying from cancer. ‘Grandpa, what’s wrong? What’s wrong with you? Mother is coming home, did you hear?’ I came closer and touched his hand. It was colder than usual, and the frost went down my back. ‘Do you hear me? What’s wrong with you?’ I asked, and he was silent. Suddenly, I understood everything.” (-- Angelika Regossi, “Love in Communism. A Young Woman’s Adult Story”. Chapter 5: University of Life) “‘Let me tell you this way. In the academy, we were told to marry early, before we go on the first shift. My first shift starts in a few months in July. I shall be half a year under the water in the submarine, carrying nuclear weapons. They advise us to marry and to make children as soon as possible because who knows what will be on that shift. Also, I told you about the radiation. I know submariners’ who cannot make children because of the radiation on the ship,’ said Prohor. ‘How to explain to you, my girl? To make children, a man needs an erection but the radiation kills it. I am afraid until I reach the rank of admiral, I shall be impotent … unable to make children …,’ Prohor told sadly from his bed.” (-- Angelika Regossi, “Love in Communism. A Young Woman’s Adult Story”. Chapter 6: Fiance from Submarine) “So, it happened there; between the two biggest islands of two big enemies, Japan and the USSR. ‘Now I recall that Prohor praised that they can attack unexpectedly from a submarine, from under the water, with nuclear rockets.’ I was astonished that I knew all these things, which earlier had never interested me.” (-- Angelika Regossi, “Love in Communism. A Young Woman’s Adult Story”. Chapter 7: Between Two Men) “‘Do you remember what I told you before I died? You promised me to think big! My little star, if you think big, you will become big! Use my diamonds and the wall clock to become big! Dream big, Anfisa—and you will be more than just a wife to a man. ‘But remember, you have to take diamonds and the clock outside the USSR, where they value these things.’ I heard my grandfather’s voice live, close, but I didn’t see him.” (-- Angelika Regossi, “Love in Communism. A Young Woman’s Adult Story”. Chapter 8: Earner Marriage No. 1)