21st Century
21st Century
21st Century
Rashomon Summary
A Rainy Evening in Kyōto
On a rainy evening a recently dismissed servant sits beneath the Rashomon gate of Kyōto. It is
near the end of the Heian period (794–1185). After earthquakes and fires, the capital is in such
decline that, according to old records, people sell smashed Buddhist statues for firewood. The
Rashomon gate is in disrepair, with peeling lacquer. It has become a disreputable hideout for
thieves and a dumping ground for corpses. Though the narrator opens by stating that the servant
is waiting for the rain to end, the servant actually has no idea what he will do after the rain stops.
Without work, he may be forced to become a thief. The servant worries at a growing pimple.
Because he has nowhere to go, he decides to go up to the room above the gate to try to sleep. He
doesn't expect to find anyone alive there. Halfway up the stairway he sees a light and realizes
someone else is already in the room. Feeling "six parts terror and four parts curiosity," he creeps
up to the top. To describe the feeling of the man's hair standing on end. Above, male and female
corpses are piled grotesquely on top of each other. An old woman in a rust-colored robe moves
among the dead. She plants a burning pine stick into the floor for light and begins to pull hair
from the head of a dead woman.
Confronting the Old Woman
The man is morally horrified, and he feels "a revulsion for all things evil." Though he had just
been considering becoming a robber, his feeling of righteous horror convinces him he would
rather starve than debase himself by stealing. He draws his sword and confronts the old woman,
who stumbles over the corpses as she tries to flee. He grabs her. They fight among the corpses,
but he easily overcomes her.
Realizing he has the power of life and death over the old woman, the servant's anger dissipates,
and he feels righteously satisfied and benevolent. He tells her he is not with the Magistrate's
Office; he is only a fellow traveler and will not arrest her. After a moment she tells him she has
been taking the hair to make a wig. When she sees he is disgusted, she attempts to justify herself
by saying the corpses were people who had done bad things as well. The woman whose hair she
is stealing used to sell snake meat as fish before she died in the epidemic. The old woman doesn't
blame the dead woman; both of them have done what they must to survive.
Becoming a Thief
The servant fidgets with his pimple again as he listens. "A new kind of courage began to
germinate in his heart," the narrator says. However, it is the opposite of the courage brought on
by his earlier revulsion. He has now decided to be a thief. He mocks the old woman, saying she
must then also understand what he is doing. He steals her robe and leaves her naked among the
corpses, kicking her on his way out. When she rises to look out into the night after him, she sees
only darkness. The narrator says no one knows what happened to the servant.
Mahabharata- It is known as one of the world’s longest literary works.
Upanishads- means sitting down near a vision of an interconnected universe with single unifying
principle behind the apparent diversity in the cosmos,any articulation of which is called
Brahman.
Li Bai- pronounced as Li Bo
His poems reflect the hard realities of war, dying people living next to rich rulers, and primitive rural life.
Good Fellowship
The Green Water
The Jewel Stair’s Grievance
-Poem Analysis
“I Wandered Lonely as a Cloud” argues for a strong connection between experience,
imagination, and language. The poem itself is a memory, focused on bringing the speaker's
experience of seeing daffodils back to life on the page through the concentrated power of the
imagination. Like nature, the imagination was an integral part of the poetic universe of the
Romantics, and in this poem, the speaker shows the way in which a strong imagination—using
the “inward eye” of the mind—can bring back pleasant memories, create joy in the present, and
even pass joy along to others.
The poem is told retrospectively, with all the verbs up until the final stanza in the past tense: the
speaker is looking back on an experience from the past. It is, then, an effort on the speaker’s part
not just to recall an experience, but to breathe new life into it through the imagination. The
speaker doesn’t only want to acknowledge the experience, but somehow give it life again and, in
turn, conjure that same joyful feeling.
The success of this goal depends on the speaker and the reader working together. The speaker
strives to bring their experience with the daffodils into life on the page, and the reader is asked to
use their imagination to make this work. The reader, then, is called on to use their own “inward
eye,” just as the speaker describes in the final stanza. Primarily, this interplay between the
speaker's imagination and the reader's imagination is dependent on the personification of the
daffodils that runs throughout the poem. The speaker describes the daffodils as having human
characteristics, which are not meant to be taken literally but instead imaginatively. For example,
the “dancing” of the daffodils, referenced in every stanza, is actually just the effect of the wind.
But dancing, of course, is an inherently joyful activity. The speaker perceives visual similarities
between the daffodils’ movement and dance, and this imaginative leap deepens the speaker's own
connection to the experience. In essence, imagining the daffodils are dancing makes the
speaker feel more alive by witnessing the life in everything else.
The speaker also projects human emotion onto the daffodils: “jocund company” (jocund means
cheerful). Of course, the daffodils don’t experience the world in this way—the speaker is seeing
their own state of mind reflected back in the visual effect of the flowers. That imaginative leap
heightens the experience, arguably making the speaker feel a stronger connection to nature. The
poem in turn asks the reader to go through the same process. The reason for doing so is clear
from the final stanza. Here, the speaker describes being in a “vacant” or “pensive” mood— in
other words, these are times in which the speaker feels disengaged and detached from the world.
Of course, the imagination is the speaker's salvation—the image of the daffodils comes rushing
back, and even further, the speaker imaginatively goes back to the daffodils and “dances” with
them. The poem, then, argues that such imaginative acts can have positive effects for the reader,
too. Encouraging the reader toward imagination becomes the justification for the use of
personification, conceptualization, and poetic language that has come before. These choices
weren't just about describing the daffodils, but about engaging the reader’s imagination in
experiencing them. Throughout, the speaker links imagination to happiness, particularly in its
capacity to bring memories, if not back to life, into new life. The experience of the daffodils
lives on in the speaker’s and then the reader’s imagination. “I Wandered Lonely as a Cloud” is,
then, an imaginative attempt to not just recreate the speaker's experience, but to extend it into the
mind of the reader. The poem argues that this process is an important part of what it means to be
human and, moreover, happy.