Japanese Sad Quotes

In Japanese and Italian, the response to ["How are you?"] is "I'm fine, and you?" In German it's answered with a sigh and a slight pause, followed by "Not so good.

Drying her eyes, Mother said to Totto-chan very slowly, "You're Japanese and Masao-chan comes from a country called Korea. But he's a child, just like you. So, Totto-chan, dear, don't ever think of people as different. Don't think, 'That person's a Japanese, or this person's a Korean.' Be nice to Masao-chan. It's so sad that some people think other people aren't nice just because they're Koreans.

All through autumn we hear a double voice: one says everything is ripe; the other says everything is dying. The paradox is exquisite. We feel what the Japanese call "aware"--an almost untranslatable word meaning something like "beauty tinged with sadness.

The word “to grieve” or “lament” in Japanese is actually made up of two different kanji characters — “sadness” and “resentment.

With each sadness a woman gets more beautiful. I wonder if with each sadness a man gets stronger.

The colonel nodded. "Our childhood seems so far away now. All this" - he gestured out of the vehicle - "so much suffering. One of our Japanese poets, a court lady many years ago, wrote how sad this was. She wrote of how our childhood becomes like a foreign land once we have grown." "Well, Colonel, it's hardly a foreign land to me. In many ways, it's where I've continued to live all my life. It's only now I've started to make my journey from it.

As for me, I see both beauty and the dark side of the things; the loveliness of cornfields and full sails, but the ruin as the well. And I see them at the same time, and chary of that ecstasy. The Japanese have a phrase for this dual perception: mono no aware. It means "beauty tinged with sadness," for there cannot be any real beauty without the indolic whiff of decay. For me, living is the same thing as dying, and loving is the same thing as losing, and this does not make me a madwoman; I believe it can make me better at living, and better at loving, and, just possibly, better at seeing.

He was beneath the waves, a creature crawling the ocean bottom.

What is serious to men is often very trivial in the sight of God. What in God might appear to us as "play" is perhaps what he Himself takes most seriously. At any rate, the Lord plays and diverts Himself in the garden of His creation, and if we could let go of our own obsession with what we think is the meaning of it all, we might be able to hear His call and follow Him in His mysterious, cosmic dance. We do not have to go very far to catch echoes of that game, and of that dancing. When we are alone on a starlit night; when by chance we see the migrating birds in autumn descending on a grove of junipers to rest and eat; when we see children in a moment when they are really children; when we know love in our own hearts; or when, like the Japanese poet Bashō we hear an old frog land in a quiet pond with a solitary splash--at such times the awakening, the turning inside out of all values, the "newness," the emptiness and the purity of vision that make themselves evident, provide a glimpse of the cosmic dance. For the world and time are the dance of the Lord in emptiness. The silence of the spheres is the music of a wedding feast. The more we persist in misunderstanding the phenomena of life, the more we analyze them out into strange finalities and complex purposes of our own, the more we involve ourselves in sadness, absurdity and despair. But it does not matter much, because no despair of ours can alter the reality of things; or stain the joy of the cosmic dance which is always there. Indeed, we are in the midst of it, and it is in the midst of us, for it beats in our very blood, whether we want it to or not. Yet the fact remains that we are invited to forget ourselves on purpose, cast our awful solemnity to the winds and join in the general dance.

When you break something, is your first impulse to throw it away? Or do you repair it but feel a sadness because it is no longer "perfect"? Whatever the case, you might want to consider the way the Japanese treated the items used in their tea ceremony. Even though they were made from the simplest materials... these teacups and bowls were revered for their plain lines and spiritual qualities. There were treated with the utmost care, integrity and respect. For this reason, a cup from the tea ceremony was almost never broken. When an accident did occur and a cup was broken, there were certain instances in which the cup was repaired with gold. Rather than trying to restore it in a what they would cover the gace that it ahad been broken, the cracks were celebrated in a bold and spirited way. The thin paths of shining gold completely encircled the ceramic cup, announcing to the world that the cup was broken and repaired and vulnerable to change. And in this way, its value was even further enhanced.

There’s a word in Japanese for being sad in the springtime – a whole word for just being sad – about how pretty the flowers are and how soon they’re going to die.

«Like a fossil tree From which we gather no flowers Sad has been my life Fated no fruit to produce.» Death poem composed by Minamoto Yorimasa immediately before his act of seppuku in the Byodo-in temple of Uji.

...all movement stops and I walk in the timeless sadness of existence, tenderness flowing thru the buildings, my fingertips touching reality's face, my own face streaked with tears in the mirror of some window - at dusk - where I have no desire - for bonbons - or to own the dresses or Japanese lampshades of intellection -

There’s a word in Japanese for being sad in the springtime — a whole word for just being sad — about how pretty the flowers are and how soon they’re going to die.

I believe in han. There's no perfect English-language equivalent for this Korean emotion, but it's some combination of strife or unease, sadness, and resentment, born from the many historical injustices and indignities endured by our people. It's a term that came into use in the twentieth century after the Japanese occupation of Korea, and it describes this characteristic sorrow and bitterness that Koreans seem to possess wherever they are in the world. It is transmitted from generation to generation and defines much of the art, literature, and cinema that comes out of Korean culture.

The sad fact is that language and logic cut off from reality have a far greater power than the language and logic of reality—with all that extraneous matter weighing down like a rock on any actions we take. In

There’s a word in Japanese for being sad in the springtime – a whole word for just being sad – about how pretty the flowers are and how soon they’re going to die.” — Sarah Ruhl

What strange hesitancy, fear, or apathy stops us from looking within ourselves, from trying to grasp the true essence of joy and sadness, desire and hatred? Fear of the unknown prevails, and the courage to explore that inner world fails at the frontier of our mind. A Japanese astronomer once confided to me: “It takes a lot of daring to look within.” This remark—made by a scientist at the height of his powers, a steady and open-minded man—intrigued me. Recently I also met a Californian teenager who told me: “I don’t want to look inside myself. I’m afraid of what I’d find there.” Why should he falter before what promised to be an absolutely fascinating research project? As Marcus Aurelius wrote: “Look within; within is the fountain of all good.

I didn't know. All I know was that the sex was terrific. And that the hippie was cute. She loved sweet pickles. She liked the name Willie. She even liked Apocalypse Now. She was not a vegeterian. These were all on the plus side. But, once I introduced her to my friends, at the time, and they were all stuck-up asshole Lit majors and they made fun of her and she understoond what was going on and her eyes, usually blue, too blue, vacant, were sad. And I protected her. I took her away from them. ('Spell Pynchon,' they asked her, cracking up.) And she introduced me to her friends. And we ended up sitting on some Japanese pillows in her room and we all smoked some pot and this little hippie girl with a wreath on her head, looked at me as I held her and said, "The world blows my mind'. And you know what? I fucked her anyway.

Weißt Du, daß es außer den über dreißig Farben in einem Farbtub-Kasten noch eine weitere, für Menschenaugen sehr wohl sichtbare Farbe gibt — die der Traurigkeit?

If you are upset or nervous, that is proof you lack something. Do not be sad or gloomy - foster virtue, feel compassion, and you can save even devils.

As I view the moon I feel the sadness of all things --- this autumn is not for me alone

When one’s life begins to unravel, one is tempted, sadly enough, to cling to the thread of prophecy.

Being depressed is not the worst thing. It depends on how you address the feeling. Perhaps Sergei is luckier than his crewmates. Americans always desire happiness, so they fear sadness, unlike Russians, who can draw strength from mourning. The Japanese too, Sergei understands, have an easier relationship with melancholy. Sergei is very glad that Helen is a woman and not a man. Depressed American men on spaceships are embarrassing.

Like the Japanese, the Stoics know “all things everywhere are perishable.” They see this fact as cause for neither sadness, like many of us, nor celebration, like the Japanese, but merely a fact of life. Rationally there is nothing we can do about it, so best not to worry. Marcus reminds us that all we cherish will one day disappear like leaves on a tree so we must “beware lest delight in them leads you to cherish them so dearly that their loss would destroy your peace of mind.

Despite a seemingly pervasive belief that only people of colour ‘play the race card’, it does not take anything as dramatic as a slave revolution or Japanese imperialism to evoke white racial anxieties, something as trivial as the casting of non-white people in films or plays in which a character was ‘supposed’ to be white will do the trick. For example, the casting of Olivier award-winning actress Noma Dumezweni to play the role of Hermione in the debut West End production of Harry Potter and the Cursed Child got bigots so riled up that J. K. Rowling felt the need to respond and give her blessing for a black actress to play the role. A similar but much larger controversy occurred when the character Rue in the film The Hunger Games was played by a black girl, Amandla Stenberg. Even though Rue is described as having brown skin in the original novel, ‘fans’ of the book were shocked and dismayed that the movie version cast a brown girl to play the role, and a Twitter storm of abuse about the ethnic casting of the role ensued. You have to read the responses to truly appreciate how angry and abusive they are.- As blogger Dodai Stewart pointed out at the time: All these . . . people . . . read The Hunger Games. Clearly, they all fell in love with and cared about Rue. Though what they really fell in love with was an image of Rue that they’d created in their minds. A girl that they knew they could love and adore and mourn at the thought of knowing that she’s been brutally killed. And then the casting is revealed (or they go see the movie) and they’re shocked to see that Rue is black. Now . . . this is so much more than, 'Oh, she’s bigger than I thought.’ The reactions are all based on feelings of disgust. These people are MAD that the girl that they cried over while reading the book was ‘some black girl’ all along. So now they’re angry. Wasted tears, wasted emotions. It’s sad to think that had they known that she was black all along, there would have been [no] sorrow or sadness over her death.

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.

Quickly, she pulls out a photograph from the same drawer. Two girls; one English, one Japanese. Their hair is in plaits, knees in the same position, peeking out under school skirts. There is no gap between their bodies. They look entirely different. Chinatsu is delicate, so flawless that she seems like a drawing, whereas Fleur is scrawny and ablaze with freckles. And yet, they look like sisters; the same posture, the same sadness in their eyes. She remembers that day. It was the worst and best of her life.

She is sad. She does not speak Japanese. Her husband went to the desert months and months ago. Every day she goes to the market and brings back chocolate, a peach, and a salmon rice-ball for her dinner. She sits and eats and stares at the wall. Sometimes she watches television. Sometimes she walks three miles to Blue Street to look at necklaces in the window that she wishes someone would buy for her. Sometimes she walks along the pier to see the sunken bicycles, pinged into ruin by invisible arrows of battleship-sonar, crusted over with rust and coral. She likes to pet people’s dogs as they walk them. That is her whole life. What should she dream of?”   “Something better.

I realized that it was not Ko-san, now safely ditched for ever, but Ko-san's mother who stood in need of pity and consideration. She must still live on in this hard unpitying world, but he, once he had jumped [in battle], had jumped beyond such things. The case could well have been different, had he never jumped; but he did jump; and that, as they say, is that. Whether this world's weather turns out fine or cloudy no more worries him; but it matters to his mother. It rains, so she sits alone indoors thinking about Ko-san. And now it's fine, so she potters out and meets a friend of Ko-san's. She hangs out the national flag to welcome the returned soliders, but her joy is made querulous with wishing that Ko-san were alive. At the public bath-house, some young girl of marriageable age helps her to carry a bucket of hot water: but her pleasure from that kindness is soured as she thinks if only I had a daughter-in-law like this girl. To live under such conditions is to live in agonies. Had she lost one out of many children, there would be consolation and comfort in the mere fact of the survivors. But when loss halves a family of just one parent and one child, the damage is as irreparable as when a gourd is broken clean across its middle. There's nothing left to hang on to. Like the sergeant's mother, she too had waited for her son's return, counting on shriveled fingers the passing of the days and nights before that special day when she would be able once more to hang on him. But Ko-san with the flag jumped resolutely down into the ditch and still has not climbed back.

The insistence on low-rise, sadly, has done nothing to make modern Japanese construction more attractive.

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.

Getting rid of other people’s things without permission demonstrates a sad lack of common sense.

It wasn't the worst time when Melody left me," the Professor said. "The worst time was the years before. Because I didn't know I couldn't hate anybody that much; it was like she'd stuck a sword into me, one of those Japanese samurai swords, do you know the kind I mean? Heavy and razor sharp-and she'd stuck it in me and then she was...pushing it around." His hand rested on his stomach, remembering. "I couldn't get free from the feelings. I didn't know how frightened I could be, all the time. But whenever we had to go out together, she'd smile at me and talk to me and listen and look at me the way she did-and I wanted to hit her," he said, his voice low and ashamed. Jeff let his head down to rest on his fists. "When I found out how many lies she was telling me, I finally realized that she had always lied to me. About my lectures. About boyfriends; and even after she knew I knew, she'd still lie about it. I hated her. Or the bills she ran up, without asking, without telling; then she'd say she'd taken care of them but she just-ignore them. I know I looked all right to other people-maybe more of a dry stick than usual, maybe even more of boring than usual-but inside I was knotted up, all the time, because I hated her so much, and I hated myself, and I was scared." Jeff looked up at his father. "I didn't think she'd do that to you, Jeff," the Professor said. "But she did, didn't she." Jeff nodded. He knew he was crying, but he didn't know what to do about it. Neither did the Professor. He just sat and waited, until Jeff got up to blow his nose. "It was the lies," the Professor said. "They were what really scared me. Even now, if I think about her-and the kinds of things she says....I don't know what she told you, but I never was sorry I'd married her or loved her because of you. You always made a difference, made a real difference, from the very beginning. I always knew that, inside me, but I didn't bother to learn how to show you. I'm sorry, Jeff, I should have taken the trouble.

Kevin Swift woke up to a series of unusual sounds. The first, not to mention easiest, for him to identify was crying—no, not just crying. Sobbing. It was the sound of someone sobbing manly tears, though they did not sound sad. The second sound was, strangely enough, a word: kawaii. Just what the heck someone was doing speaking Japanese was beyond him. It was the third sound, however, that caused him to open his eyes—namely because it was right next to his ear. “Nya.” Cracking a single eye open, Kevin first saw nothing but red. It was hair. Lilian’s hair. A million strands of silk that tickled his nose. The familiar scent of strawberries and vanilla lulled his mind into a sense of contentment. He must have buried his face in her hair sometime during the night. “Nya.” Something swatted at his ear, sharp and hard. It kind of hurt. Unburying his face and turning his head, Kevin met the large yellow orbs of a black cat. “Nya.” “Morning.” He yawned. “Nya.” “Did you sleep well?” “Nya.” “Good to know.” “Nya.” “… You don’t really say anything other than ‘nya’ do you? Shouldn’t you be ‘meowing’ instead? You know, like a cat should?” The cat tilted her head. “Nya?” “… Never mind.

The thought of all the bewildered sturgeons and barracudas dodging depth bombs is a sad one, as is the end of that wistful little Japanese who wrote so tenderly of the first succulent taste of bonito in the spring.

because I had minimized most of my belongings, I realized I had also minimized the trouble I would cause others in such circumstances. It’s a sad thing to think about, but for some reason I felt a sense of freedom.

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.

We should never forget that everything we have and all the people we love will disappear at some point. This is something we should keep in mind, but without giving in to pessimism. Being aware of the impermanence of things does not have to make us sad; it should help us love the present moment and those who surround us.

There is a beautiful Japanese expression ‘mono no aware’, which roughly translates as ‘the sadness of things’.

Cara shifted her attention back toward the sad Japanese woman on the stage, who strutted and gyrated, trying to be sexy somehow, despite her age and faded makeup.

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.

We should never forget that everything we have and all the people we love will disappear at some point. This is something we should keep in mind, but without giving into pessimism. Being aware of the impermanence of things does not have to make us sad; it should help us love the present moment and those who surround us.

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.

When we are alone on a starlit night; when by chance we see the migrating birds in autumn descending on a grove of junipers to rest and eat; when we see children in a moment when they are really children; when we know love in our own hearts; or when, like the Japanese poet Bashō we hear an old frog land in a quiet pond with a solitary splash—at such times the awakening, the turning inside out of all values, the “newness,” the emptiness and the purity of vision that make themselves evident, provide a glimpse of the cosmic dance.For the world and time are the dance of the Lord in emptiness. The silence of the spheres is the music of a wedding feast. The more we persist in misunderstanding the phenomena of life, the more we analyze them out into strange finalities and complex purposes of our own, the more we involve ourselves in sadness, absurdity and despair. But it does not matter much, because no despair of ours can alter the reality of things, or stain the joy of the cosmic dance which is always there. Indeed, we are in the midst of it, and it is in the midst of us, for it beats in our very blood, whether we want it to or not.

In Chinese or Japanese artistic tradition, there is nothing wrong with cliches as such. The true test of skill is to redefine the familiar. The paradigm of the Japanese Buddhist belief that beauty is rooted in the evanescence of life and therefore its sadness.

Photos Cherish who you are now If you have been sorting and discarding things in the order I recommend, you have likely stumbled across photographs in many different places, perhaps stuck between books on a shelf, lying in a desk drawer, or hidden in a box of odds and ends. While many may already have been in albums, I’m sure you found the odd photo or two enclosed with a letter or still encased in the envelope from the photo shop. (I don’t know why so many people leave photos in these envelopes.) Because photos tend to emerge from the most unexpected places when we are sorting other categories, it is much more efficient to put them in a designated spot every time you find one and deal with them all at the very end. There is a good reason to leave photos for last. If you start sorting photos before you have honed your intuitive sense of what brings you joy, the whole process will spin out of control and come to a halt. In contrast, once you have followed the correct order for tidying (i.e., clothes, books, papers, komono, sentimental items), sorting will proceed smoothly, and you will be amazed by your capacity to choose on the basis of what gives you pleasure. There is only one way to sort photos, and you should keep in mind that it takes a little time. The correct method is to remove all your photos from their albums and look at them one by one. Those who protest that this is far too much work are people who have never truly sorted photos. Photographs exist only to show a specific event or time. For this reason, they must be looked at one by one. When you do this, you will be surprised at how clearly you can tell the difference between those that touch your heart and those that don’t. As always, only keep the ones that inspire joy. With this method, you will keep only about five per day of a special trip, but this will be so representative of that time that they bring back the rest vividly. Really important things are not that great in number. Unexciting photos of scenery that you can’t even place belong in the garbage. The meaning of a photo lies in the excitement and joy you feel when taking it. In many cases, the prints developed afterward have already outlived their purpose. Sometimes people keep a mass of photos in a big box with the intention of enjoying them someday in their old age. I can tell you now that “someday” never comes. I can’t count how many boxes of unsorted photographs I have seen that were left by someone who has passed away. A typical conversation with my clients goes something like this: “What’s in that box?” “Photos.” “Then you can leave them to sort at the end.” “Oh, but they aren’t mine. They belonged to my grandfather.” Every time I have this conversation it makes me sad. I can’t help thinking that the lives of the deceased would have been that much richer if the space occupied by that box had been free when the person was alive. Besides, we shouldn’t still be sorting photos when we reach old age. If you, too, are leaving this task for when you grow old, don’t wait. Do it now. You will enjoy the photos far more when you are old if they are already in an album than if you have to move and sort through a heavy boxful of them.

Living alone in a foreign country without parents, siblings, or friends, trying to keep pace with society here, was painful and sad.

I felt like Schrödinger’s cat. She would come, or not come. She would take me in, or throw me out. She would forgive me, or tell me to fuck off. And in that narrow, purgatorial space, a feeling crept in, a kind of mourning for my younger self and all his terrible choices, and a wish that I could somehow tell him what I knew now and help him for both our sakes to get it right, and a grief that such a thing was impossible, the young man’s blindness irreparable, his mistakes immutable, the consequences irreversible. And then I smiled, thinking of mono no aware, the sadness of being human, aware of the irony of having traveled all the way to Paris to feel something so quintessentially Japanese.

The Japanese believe that sadness comes from an awareness of the fragility of life at the same time one is captivated by its transient beauty. The cherry blossoms. But that is a very superficial understanding of sadness, may I say. True sadness arises when we realize that the world around us is imperishable, and rather ugly.

I won’t be comparing myself with others anymore, and I won’t be preparing for far-off futures either. Rich or poor, sad or happy, I’ll face it then. All I need to do is experience the now.

AWARE The great sigh of things. To be aware of aware (pronounced ah-WAH-ray) is to be able to name the previously ineffable sigh of impermanence, the whisper of life flitting by, of time itself, the realization of evanescence. Aware is the shortened version of the crucial Japanese phrase mono-no-aware, which suggested sensitivity or sadness during the Heian period, but with a hint of actually relishing the melancholy of it all. Originally, it was an interjection of surprise, as in the English “Oh!” The reference calls up bittersweet poetic feelings around sunset, long train journeys, looking out at the driving rain, birdsong, the falling of autumn leaves. A held-breath word, it points like a finger to the moon to suggest an unutterable moment, too deep for words to reach. If it can be captured at all, it is by haiku poetry, the brushstroke of calligraphy, the burbling water of the tea ceremony, the slow pull of the bow from the oe. The great 16th-century wandering poet Matsuo Basho caught the sense of aware in his haiku: “By the roadside grew / A rose of Sharon. / My horse / Has just eaten it.” A recent Western equivalent would be the soughing lyric of English poet Henry Shukman, who writes, “This is a day that decides by itself to be beautiful.