The mistress and harp of burma

In Japanese Literature, stories have often depicted what greatly influenced the prevalent flow rate of common life and social sen meternt. In the two books written by Japanese authors in two separate periods of Japans history, a transition is clearly seen through literature often expressed in superb storytelling.In Ogai Moris The Wild Geese, human struggle is greatly influenced by tales of love in the midst of Japans industrialization boom. Writers depict and assimilate the concepts of free-thinking which brought romance and human emotion to the limelight. The familiarity of the reforms conventional during the period for which Ogais novel was actually written apparently brought ship the chance to openly discuss Japans so-called diabolical customs and traditions in a bid to strengthen the imperial rule.Okada, as one of the main characters clearly narrated how he felt that a cleaning lady should be only a beautiful object, something loveable, a being who keeps her bag and loneline ss no matter what the situation she is in (Ogai, 20). In the identical page, Okada added that this sentiment is brought about under the influence of habitual reading of one-time(a) Chinese love stories. There is therefore a clear assure in principle that establishes a train to disregard culture and ideas that wrong adapted the old Oriental ways which often restricted free-thinkers to intellectually prosper.In Toyodas plastic film, The Mistress, adapted from Mori Ogais The Wild Geese, oriental values was the main discussion with aims to expose the ancient cultural stick outards that stand in the way of personal freedom. In Otama we see the oppressed and marginalized muckle driven and deceived without any hope of being uplifted from the moral and sumptuary bounds that society places upon them. The simplistic adventure of romance in a plot heightens into limelight the realities of life and the prevailing social views of the middle sectionalization which somehow voices out a need for reform in the Meiji regaining period.Several decades later after Japan was able to stand on its own two feet, Japan experienced a wartime defeat that brought billet sad stories of soldiers taken as prisoners of war. Takayamas Harp of Burma showed pacifism as the main aim of both novel and on film. We have to be ready for hardship, for all we know, we may die here in Burma. If that time comes, let us die together, (Takeyama, 33).Such poignant wrangling relay veiled patriotism whose desire for peace in an cease-fire agreement with their British captors aims to relay the evils of war. Written during a period where wartime horrors fluent stayed afresh in the minds of the Japanese people, there was not an ounce of pat or an aim to proclaim the evils of their captors. Its sincere inward idea was vertical to dwell on the problems the war brought to everyone involved.In retrospect, The Harp of Burma establishes a deeper humanistic connection to modern day tear downts where peace is the common desire of mankind. The word-painting through cinematic effect exceeds sensory censure that somehow created a link to present day situations around the world where wars and battles are fought. Although Ogais novel discussed social issues on a road to recovery, the pressing need for peace exceeds in meaning and connection through the Harp of Burma that was successfully portrayed in film. Seeing the ravages of war makes a good reflection how one favors such madness that proceedsed in tragedy and death.As an anti-war film, it even exceeded the points portrayed in its novel where suffering is presented as a result of too much desire. As a challenge to selection, the movie Fires on the Plain declares a clearly made manifestation of human woes compared to the movie of the same title, The Burmese Harp. Both movies however adapted Takeyamas novel The Harp of Burma that depicted a deep sense of disposition for the fatherland while emphasizing compassion in the midst o f survival and atrocities. As a human interest film, Fires on the Plain arouses a relative connection through artistic performance of reality in full color for young viewers to understand how wars wreak and contribute even the strongest heart.Works CitedMori, Ogai trans. Ociai, Kingo and Goldstein, Sanford (1959). The Wild Geese. capital of MassachusettsTuttle PublishingTakeyama, Michio trans., Howard Hibbett ( 1966). Harp of Burma. Boston Tuttle Publishing.