By Lucia St. Clair Robson
After the execution of her father, the younger and lovely girl Asano is in grave possibility from the robust Lord Kira. with the intention to keep herself Asano needs to locate Oishi, the chief of the battling males of her extended family. She believes he's 300 miles to the southwest within the imperial urban of Kyoto.
Disguising her loveliness within the humble clothing of a touring priest, and calling herself Cat, woman Asano travels the fabled Tokaido highway. Her merely instruments are her fast wits, her samurai education, and her lethal, six foot-long naginata. and he or she will want all of them, for a ronin has been employed to pursue her, a mysterious guy who will play a job in Cat's drama that neither may have ever imagined. . . .
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Additional resources for The Tokaido Road
The problem can only be ignored if one comes to believe, as Mallarme did, that prose does not truly exist. Verse is everywhere in language where there is rhythm; everywhere, except in advertizements and on the fourth page of the newspapers. In the genre referred to as prose there are verses, sometimes admirable ones, of all kinds of rhythm. But, in truth, there is no prose: there is the alphabet, and then there is verse, more or less tightened, more or less diffuse. 17 If one follows out the logic of what has been suggested above, it will appear that the prose poem is something poets should not write.
If, drawn by some sense there of the unforeseen, she had appeared, the thoughtful one, perhaps the proud, or the retiring or the gay; so much the worse then for that face now not to be described since it is never to be known. For I did the moves according to the book; got the boat free, swung round, and was already passing a slight bend in the stream, bearing away as my imaginary trophy a swan's noble egg from which no flight will ever burst, which swells with nothing but its own exquisite vacancy, and which in summer a lady will pursue, along the walks and pathways of her garden, as they all love to do, stopping often and at length, as if on the bank of a stream which must be crossed, or some expanse of water.
He felt that the attempt to write intellectually in Japanese only led to a tasteless, dry, academic form of language, but also that the avoidance of that resulted in merely impressionistic sequences with no true rhythm running through them. As long as one wrote in Japanese the artistic prose poem of Baudelaire must remain an im possibility. Although this difficulty about how to give an intellec tual content to the poem is one perhaps every modern Japanese poet has met, these remarks of Hagiwara's only show how far he was from sharing the modernist view of the poem in prose.
The Tokaido Road by Lucia St. Clair Robson