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Essays in Idleness
Between 1330 and 1332 the Buddhist priest Kenko, having, as he put it, "nothing better to do," turned to his inkstone and brushes. He jotted sown his thoughts, observations, and opinions; anecdotes that he found interesting, amusing, or instructive; accounts of customs and ceremonies--everything that seemed to him worthy of preservation.
The little essays--none of them more than a few pages in length, and some consisting of but two or three sentences--give us the self-portrait of a most engaging gentleman. He is consistent in his statement of the peculiarly Japanese aesthetic principle: beauty is intrinsically bound to its perishability. The imperfect, the irregular, the understated, beginnings and endings--these have a charm of their own which surpasses that of completion.
The little essays--none of them more than a few pages in length, and some consisting of but two or three sentences--give us the self-portrait of a most engaging gentleman. He is consistent in his statement of the peculiarly Japanese aesthetic principle: beauty is intrinsically bound to its perishability. The imperfect, the irregular, the understated, beginnings and endings--these have a charm of their own which surpasses that of completion.
214 pages, Paperback
First published January 1, 1332
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About the author
Yoshida Kenkō
44 books88 followersYoshida Kenkō (吉田 兼好, 1283? – 1350?) was a Japanese author and Buddhist monk. His most famous work is Tsurezuregusa (Essays in Idleness), one of the most studied works of medieval Japanese literature. Kenko wrote during the Muromachi and Kamakura periods.
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August 25, 2025
The great Buddha in Kamakura
If man were never to fade away like the dews of Adashino, never to vanish like the smoke over Toribeyama, but lingered on forever in this world, how things would lose their power to move us! The most precious thing in life is its uncertainty.
When in 1333 the Emperor Go-Daigo returned triumphantly to Kyoto from exile to mark the end of the Kamakura Shogunate and the rule of the samurai, Yoshida Kenko (1283-1350) - a middle ranking court officer and Buddhist monk- must have been ecstatic. After 150 years the imperial family and the aristocracy were again in power, and Yoshida's dream of returning to the hot house refinement of the Heian era could become reality. But the Emperor quickly managed to alienate the samurai who had played such a crucial role in casting down the bakufu, and one of them - Ashikaga Takauji - captured Kyoto in 1336, replaced Go-Daigo with a member of another branch of the imperial family, and had himself declared Shogun in 1338. The warriors would stay in power for the next 550 years until the Meiji Restoration.
Just before the brief Kenmu Restoration, between 1330 and 1332, Kenko wrote the Tsurezuregusa (available in Donald Keene's wonderful translation Essays in Idleness), regarded as one of the finest gems of Japanese literature and forming with Sei Shonagon's Makura no Sōshi (The Pillow Book) and Kamo no Chomei's Hōjōki(*) the classic triumvirate of the zuihitsu (follow the brush) genre, the deliberately discursive and informal literary form westerners rather misleadingly refer to as the essay when discussing this characteristic product of the Country of Eight Islands.
Despite the fact that its composition took place while Japan was embroiled in a civil war, the Tsurezuregusa serenely takes no notice of such matters; indeed, Kenko claimed he was writing his text out of sheer boredom. And while his ruminations on what makes the perfect gentleman or the proper manner to carry out some ceremony generated in me a similar emotion, there is much in this text that holds the attention beyond the beautifully flowing prose.
Of particular interest are his thoughts on aesthetics, the nature of the beautiful. The ideas expressed were not original to Kenko, but the manner in which he formulated them has made the Tsurezuregusa one of the most influential texts in Japanese culture.(**) Though long before the modern era the gaudy and the garish could be viewed as admirable by some Japanese,(***) Kenko prized the old, the imperfect, the asymmetric, the restrained. His musings on love lost, reports on events holding significance for himself, moments of very concrete philosophizing and remarks on human behavior alternate seemingly at random, constantly refreshing one's interest. And then there are the pieces of invaluable advice:
You should never put the new antlers of a deer to your nose and smell them. They have little insects that crawl into the nose and devour the brain. (!)
One is taken aback by some passages - like his complaint that in his time no one knew the proper shape of a torture rack nor how to correctly attach a criminal to it (!) - but, nonetheless, this one-sided conversation with an opinionated, rather grumpy fellow who was deeply nostalgic for a time he had never seen and, like Montaigne, wasn't the least concerned about contradicting himself is, finally, charming, and I was sorry to see the old curmudgeon go. And which Goodreader would dissent with another of his famous lines:
The pleasantest of all diversions is to sit alone under the lamp, a book spread out before you, and to make friends with people of a distant past you have never known.
(*) I discuss the latter here: https://www.goodreads.com/review/show...
(**) Heightening the irony of the following lines:
If I fail to say what lies on my mind it gives me a feeling of flatulence; I shall therefore give my brush free rein. Mine is a foolish diversion, but these pages are meant to be torn up, and no one is likely to see them.
(***) Many of the Tokugawa rulers provide such an instance.
June 12, 2011
If I fail to say what lies on my mind it gives me a feeling of flatulence. – Kenkō (1285–1350)Kenkō, a fourteenth-century Japanese monk, courtier, poet, and antiquarian, had a lot on his mind. Retired from the tumult of the imperial court, he spent whole days alone in his cottage in Kyoto, jotting random, nonsensical thoughts on slips of paper that he pasted to the walls. After his death, these scraps were peeled away, sorted, and copied into a volume now known as Essays in Idleness (1332). These 243 epigrammatic articles, written to relieve a pressing and uncomfortable ennui, give us a fascinating glimpse into both the world of medieval Japan and the inner workings of one of that nation’s most forthright thinkers and influential stylists.
Kenkō’s reflections can be slight, suggestive, and to modern readers, utterly bizarre:
A flute made from a sandal a woman has worn will infallibly summon the autumn deer.Brief and of dubious practicality, these pithy observations nevertheless show us part of a mind that took an encyclopaedic interest in the world: Buddhist ritual, carp fishing, the education of courtiers, physical deformities, burning moxa on kneecaps, the beauty of dew-covered flowers in the morning, the best way to view the moon on cloudy nights ... just a few of the many thoughts that crowded his attention. Despite the author’s expectation that his pages would be ‘torn up, and no one is likely to see them’, their influence on how the Japanese regard behaviour and beauty – often one and the same – has been far from transitory.
On a day when you’ve eaten carp soup your sidelocks stay in place.
You should never put the new antlers of a deer to your nose and smell them. They have little insects that crawl into the nose and devour the brain.
Kenkō, whose life spanned a period of intense civil disruption, took little interest in politics, but he was mesmerised by court etiquette. Some of the niceties of the emperor’s house certainly took some explaining: ‘Fire tongs are never used when placing lighted charcoal in a hibachi in the presence of the emperor or empress’ (a courtier was expected to use his bare hands unless he was wearing spotless white). Part of Kenkō’s fascination with courtly protocol was based on his belief that he lived in an age of profound social and artistic decay. He finds evidence of this deterioration in departures from old customs: a slightly misshaped window, a cap that’s a little too large, a coarse expression. And he sought to correct these failures by recording his memories of the proper way life was led at court in the past.
Sometimes crotchety and frequently sentimental, Kenkō could not escape his ‘longing for things of the past’, even in deep meditation. This pervasive nostalgia naturally seeps into his appreciation of art. Beauty, he finds, is usually bound up with a feeling of incompleteness or an element of age: ‘It is only after the silk wrapper has frayed at top and bottom, and the mother-of-pearl has fallen from the roller, that a scroll looks beautiful’. The recognition of elegance comes with the realisation that everything is impermanent and that ‘the most precious thing in life is uncertainty’.
He was a connoisseur of muted suspense, and that, coupled with his longing for the past led naturally to his greatest pleasure – reading. ‘The pleasantest of all diversions is to sit alone under the lamp, a book spread out before you, and to make friends with people of a distant past you have never known’. This is the image of Kenkō is perhaps most appealing to us: the bald monk, alone in his small home, poring over his scrolls, the Oi river and Mt. Arashiyama in the background. In a world where there was too much talk, too much posturing, too many possessions, there were never too many books. A friend, Kenkō concluded, may ‘grow distant and live in a world apart’, but a man who lives alone with only his books for company, his thoughts free to flutter in the breeze, can find true happiness.
September 8, 2019
چورُه زوُره گوُسا را ادیبان ایرانشناس سرزمین برآمدن آفتاب، کتاب گلستان ژاپن می نامند. این تشبیه هم برای درونمایه سرشار از پند و حکمت و عرفان و حکایتهای آمیخته به طیب و طنز این کتاب ژاپنی است و هم آنکه از ایجاز و ایهام و اعجاز زبان گلستان نشان دارد و با شیوهای سهل و ممتنع پرداخته شده است. در ترجمه فارسی این کتاب، امانت ادبی و حفظ اصالت اثر در حد امکان رعایت شده و کوشش بر این بوده تا نگارش فارسی هر چه نزدیکتر به اصل باشد. همچنین در کنار ترجمه، بررسی تطبیقی کوتاهی در زمینه و مایه و پیام این کتاب و گلستان سعدی توسط مترجم صورت گرفته است.
September 9, 2015
This collection of Kenko's essays is often compared with Hojoki: Visions of a Torn World by Chomei, but there is a vast difference. Kenko might sound like he is just rambling (and he takes that pose intentionally), but he is not. He is talking about the existential dilemma of human being. His awareness is very modern. He is keenly aware of the problems and also his powerlessness. He cannot solve the problems, so he writes them down, with a compassionate yet cool attitude. Great read.
(I read this in Japanese. I hope the English translation by Donald Keene is reasonably good.)
(I read this in Japanese. I hope the English translation by Donald Keene is reasonably good.)
July 13, 2022
czy fakt, że zaznaczałam jakiś fragment praktycznie co stronę wystarczy jako pozytywna recenzja tej książki? prawdopodobnie tak, więc powiem tylko - BARDZO mądra i wartościowa książka
March 24, 2021
2021 Reread: Still enjoyed it, but there is one really misogynistic passage inside
I actually didn't know that I already reviewed this book once before here. I guess it makes sense, because I only heard about this book one, two years ago, when this blog was already up. But nevermind, I have new things to say!
Basically, after my first review, I lost the book. I don't know how, I don't know when but it was lost for a period of time. And then I found out I was going to Japan. So before I went, I was at Kinokuniya using up all those vouchers people gave me; and quite naturally, I rebought this.
I can't actually say that reading it in Japan is a different experience because honestly, I read it in my dorm room (does the fact that I was eating edamane at the same time count?). But I can say that this book is timeless. I wasn't bored with it even though it was a re-read.
In fact, I think this book was "made" for re-reads. It's essentially full of seemingly random short chapters, so you really could just flip to a random page and read a chapter (which can be as short as a paragraph really. I learnt that although the arrangement of the chapters seem random, they're actually really skillfully arranged. Sadly, my literature skills aren't at the level to discern and appreciate it without any help, although every now and then, I'd get the "woah, cool arrangement" feeling.
Being written so long ago, it's imbued with many Buddhist thoughts. This was because at that time, the only two religions in Japan were Shintoism and Buddhism. Plus, the Tsurezuregusa of Kenko is a Buddhist priest. But I would think that it's a pity to skip this book merely because of its religious influence. I think it's a really great way to appreciate the culture of that period and once you know that the religious aspect is there (and really, it's very obvious), you can always take a step back whenever you feel uncomfortable. The book isn't wholly spiritual after all. Kenko seems to be attached to the past and the secular world (he doesn't sound like a hermit) so plenty of, in fact the majority of, the passages are related to life in Japan then (or the past) rather than to Buddhism.
And let me reiterate again, that I really like the Donald Keene translation. It would be interesting to read it in Japanese but let's face it, my proficiency is no where near what is necessary and even my sensei has said that it's hard for the Japanese to understand it. I suppose I'll have to wait another year or two
First posted at Inside the mind of a Bibliophile
I actually didn't know that I already reviewed this book once before here. I guess it makes sense, because I only heard about this book one, two years ago, when this blog was already up. But nevermind, I have new things to say!
Basically, after my first review, I lost the book. I don't know how, I don't know when but it was lost for a period of time. And then I found out I was going to Japan. So before I went, I was at Kinokuniya using up all those vouchers people gave me; and quite naturally, I rebought this.
I can't actually say that reading it in Japan is a different experience because honestly, I read it in my dorm room (does the fact that I was eating edamane at the same time count?). But I can say that this book is timeless. I wasn't bored with it even though it was a re-read.
In fact, I think this book was "made" for re-reads. It's essentially full of seemingly random short chapters, so you really could just flip to a random page and read a chapter (which can be as short as a paragraph really. I learnt that although the arrangement of the chapters seem random, they're actually really skillfully arranged. Sadly, my literature skills aren't at the level to discern and appreciate it without any help, although every now and then, I'd get the "woah, cool arrangement" feeling.
Being written so long ago, it's imbued with many Buddhist thoughts. This was because at that time, the only two religions in Japan were Shintoism and Buddhism. Plus, the Tsurezuregusa of Kenko is a Buddhist priest. But I would think that it's a pity to skip this book merely because of its religious influence. I think it's a really great way to appreciate the culture of that period and once you know that the religious aspect is there (and really, it's very obvious), you can always take a step back whenever you feel uncomfortable. The book isn't wholly spiritual after all. Kenko seems to be attached to the past and the secular world (he doesn't sound like a hermit) so plenty of, in fact the majority of, the passages are related to life in Japan then (or the past) rather than to Buddhism.
And let me reiterate again, that I really like the Donald Keene translation. It would be interesting to read it in Japanese but let's face it, my proficiency is no where near what is necessary and even my sensei has said that it's hard for the Japanese to understand it. I suppose I'll have to wait another year or two
First posted at Inside the mind of a Bibliophile
June 7, 2016
ترکیبی است از سه عنصر: سنت پرستی و آداب دانی شینتویی، دنیاگریزی و سکون طلبی بودائی و سرانجام زیباپرستی و احساساتی بودن ژاپنی
تمایلات بودائی و زیباپرستانش به من می چسبید اما اون بخش آداب دان نه. نویسنده ی کتاب، یعنی کنکو، در دورانی می زیسته که بسیاری از رسوم قدیم کنار رفته و اصولا تسلط وضع زندگی درباری و اشرافی در مقابل زندگی کشاورزی و ثروتمندان بی اصل و نسب کم رنگ شده؛ اگر هم بدانیم که او خود اهل دربار و پایتخت نشین بوده، این افسوسی که بر سستی آداب جدید می خوره و تمایلی که به ستایش گذشته داره، قابل درک میشه
در پایان به نظرم این اصرار مترجم که دائم سعدی و گلستان رو مقایسه کنه با این اثر زیادی افراطیه. کار به آنجا رسیده که عناوین بخش های کتاب را از سعدی گرفته و کم نیست مواردی که ربط مستقیمی میان این عناوین و محتوا وجود نداره. اما جدای از این ترجمه ی بدی نیست از نظر فارسی نویسی
از آن کتاب هایی است که باید بخرم و داشته باشم و بهش رجوع دوباره کنم ...
تمایلات بودائی و زیباپرستانش به من می چسبید اما اون بخش آداب دان نه. نویسنده ی کتاب، یعنی کنکو، در دورانی می زیسته که بسیاری از رسوم قدیم کنار رفته و اصولا تسلط وضع زندگی درباری و اشرافی در مقابل زندگی کشاورزی و ثروتمندان بی اصل و نسب کم رنگ شده؛ اگر هم بدانیم که او خود اهل دربار و پایتخت نشین بوده، این افسوسی که بر سستی آداب جدید می خوره و تمایلی که به ستایش گذشته داره، قابل درک میشه
در پایان به نظرم این اصرار مترجم که دائم سعدی و گلستان رو مقایسه کنه با این اثر زیادی افراطیه. کار به آنجا رسیده که عناوین بخش های کتاب را از سعدی گرفته و کم نیست مواردی که ربط مستقیمی میان این عناوین و محتوا وجود نداره. اما جدای از این ترجمه ی بدی نیست از نظر فارسی نویسی
از آن کتاب هایی است که باید بخرم و داشته باشم و بهش رجوع دوباره کنم ...
September 15, 2021
Đây là tập tuỳ bút cổ do tu sĩ Phật giáo Kenko viết cách đây 7 thế kỷ, sau khi ông từ quan về ở ẩn. Tập tuỳ bút gồm 243 đoạn, đoạn ngắn nhất chỉ gồm 20 chữ nhưng đều là những áng thiền nhẹ nhàng, thoát ly khỏi cuộc sống trần tục. Không nặng nề về giáo lý của Phật nhưng rõ ràng mỗi tư tưởng và suy niệm đều mang dấu ấn của một người tu thiền.
Khi tự mình tách biệt khỏi những náo nhiệt thường mặc của đời sống, Kenko lựa chọn cho mình một hành trình chiêm nghiệm sâu sắc hơn về con người, quan sát và cảm nhận tỉ mỉ hơn với thiên nhiên. Trong đoạn 17 ông có ghi “Lui vào làm Phật sự ở chùa trong núi, mình sẽ hết buồn chán, tâm hồn được xoá sạch mọi phiền não.” Những tư duy ông dàn trải trong “Đồ nhiên thảo” là những tư tưởng vượt thời gian. Dù là những phút hân hoan hay khoảnh khắc trầm mặc, cái tôi cá nhân ấy cũng nhẹ bỗng và thoát tục, qua đó những cảm quan trở nên tinh tế hơn bao giờ hết. Những tự sự của ông về các mối quan hệ trong triều đình, về nỗi lòng của phụ nữ, về giây phút hoà mình vào vẻ đẹp của tự nhiên, về các vị hành giả, tu sĩ, về thơ ca nhạc hoạ và hàng trăm điều lớn nhỏ của thế gian. Ngay cả điều u hoài cũng được nhìn bằng con mắt khẳng khái, đơn giản hoá mọi tầng sâu của tâm hồn. Trong đoạn 7 ghi như sau “Nếu cuộc đời cứ kéo dài vĩnh viễn thì còn gì đáng để xúc động nữa. Chính vì đời vô thường nên nó mới tuyệt vời.” Ông đã từng yêu thích sự xê dịch và bác bỏ danh lợi nên giờ phút trong am thảo có một chút nhận ra “Nếu ta có nhiều của cải, cả ngày cứ phải bo bo với nó, sẽ lơi là việc bảo trọng tấm thân.” Bao nhiêu thảnh thơi cùng trăng gió, mùa màng, hoa cỏ được trao gửi trên những dòng chữ để từ tốn tận hưởng.
“Đồ nhiên thảo” không chỉ là thế giới của ẩn sĩ, đó là phần nội tâm sâu thẳm của những ai biết kiểm soát nhịp điệu của thời gian để lui vào bên trong và nhìn ra bên ngoài. Khi ta cho phép mình được sống chậm đi vài nhịp nghĩa là mọi thứ trong mắt ta sẽ hiển thị rõ ràng hơn. Với tập tuỳ bút cổ này, người đọc có thể lật giở bất cứ trang, đoạn nào để chiêm nghiệm vì chúng không hề có sự liên kết hay theo thứ tự. Mặc dù vậy, ngay cả với đoạn ngắn nhất cũng là những trải nghiệm có bề dày của Kenko với cuộc đời.
Phải cảm ơn dịch giả Nguyễn Nam Trân đã dày công đưa dòng văn học ẩn sĩ này đến với bạn đọc. Những chú giải với từng nhân vật, sự kiện và câu từ vô cùng cặn kẽ và uyên bác. Rất khập khiễng nếu so sánh tác phẩm này với những tác phẩm Phật giáo khác bởi vì nó mang một giá trị rất khác. Những tinh hoa của văn hoá, nếp nghĩ, giá trị truyền thống của Nhật Bản đã đóng góp chung với sự tu học Phật pháp ở Kenko hình thành nên tác phẩm này. Mặc dù đã 7 thế kỷ trôi qua, chúng ta vẫn có thể cầm trên tay một văn phẩm giá trị, tao nhã và thuần khiết nhưng không kém phần hiện sinh và nó xứng đáng để đọc lại nhiều lần.
Khi tự mình tách biệt khỏi những náo nhiệt thường mặc của đời sống, Kenko lựa chọn cho mình một hành trình chiêm nghiệm sâu sắc hơn về con người, quan sát và cảm nhận tỉ mỉ hơn với thiên nhiên. Trong đoạn 17 ông có ghi “Lui vào làm Phật sự ở chùa trong núi, mình sẽ hết buồn chán, tâm hồn được xoá sạch mọi phiền não.” Những tư duy ông dàn trải trong “Đồ nhiên thảo” là những tư tưởng vượt thời gian. Dù là những phút hân hoan hay khoảnh khắc trầm mặc, cái tôi cá nhân ấy cũng nhẹ bỗng và thoát tục, qua đó những cảm quan trở nên tinh tế hơn bao giờ hết. Những tự sự của ông về các mối quan hệ trong triều đình, về nỗi lòng của phụ nữ, về giây phút hoà mình vào vẻ đẹp của tự nhiên, về các vị hành giả, tu sĩ, về thơ ca nhạc hoạ và hàng trăm điều lớn nhỏ của thế gian. Ngay cả điều u hoài cũng được nhìn bằng con mắt khẳng khái, đơn giản hoá mọi tầng sâu của tâm hồn. Trong đoạn 7 ghi như sau “Nếu cuộc đời cứ kéo dài vĩnh viễn thì còn gì đáng để xúc động nữa. Chính vì đời vô thường nên nó mới tuyệt vời.” Ông đã từng yêu thích sự xê dịch và bác bỏ danh lợi nên giờ phút trong am thảo có một chút nhận ra “Nếu ta có nhiều của cải, cả ngày cứ phải bo bo với nó, sẽ lơi là việc bảo trọng tấm thân.” Bao nhiêu thảnh thơi cùng trăng gió, mùa màng, hoa cỏ được trao gửi trên những dòng chữ để từ tốn tận hưởng.
“Đồ nhiên thảo” không chỉ là thế giới của ẩn sĩ, đó là phần nội tâm sâu thẳm của những ai biết kiểm soát nhịp điệu của thời gian để lui vào bên trong và nhìn ra bên ngoài. Khi ta cho phép mình được sống chậm đi vài nhịp nghĩa là mọi thứ trong mắt ta sẽ hiển thị rõ ràng hơn. Với tập tuỳ bút cổ này, người đọc có thể lật giở bất cứ trang, đoạn nào để chiêm nghiệm vì chúng không hề có sự liên kết hay theo thứ tự. Mặc dù vậy, ngay cả với đoạn ngắn nhất cũng là những trải nghiệm có bề dày của Kenko với cuộc đời.
Phải cảm ơn dịch giả Nguyễn Nam Trân đã dày công đưa dòng văn học ẩn sĩ này đến với bạn đọc. Những chú giải với từng nhân vật, sự kiện và câu từ vô cùng cặn kẽ và uyên bác. Rất khập khiễng nếu so sánh tác phẩm này với những tác phẩm Phật giáo khác bởi vì nó mang một giá trị rất khác. Những tinh hoa của văn hoá, nếp nghĩ, giá trị truyền thống của Nhật Bản đã đóng góp chung với sự tu học Phật pháp ở Kenko hình thành nên tác phẩm này. Mặc dù đã 7 thế kỷ trôi qua, chúng ta vẫn có thể cầm trên tay một văn phẩm giá trị, tao nhã và thuần khiết nhưng không kém phần hiện sinh và nó xứng đáng để đọc lại nhiều lần.
March 5, 2015
Il monaco buddhista Kenkō, avrebbe via via incollato le strisce di carta contenenti i singoli brani del libro sulle pareti della sua casa. Dopo la sua morte, altri avrebbero messo insieme tali frammenti, in cui molti lettori dovevano trovare quello che è forse il più essenziale concentrato dello spirito giapponese.
Makoto e’ dunque sentire, vivere immediatamente e attraverso i sensi le cose del mondo. E’ una forma di estrinsecazione dell’emotivita’ che, facendo perno sul cuore, ne manifesta i sentimenti in modo vigoroso, schietto e immediato.
…
Noi troviamo il makoto in Kenko in quel fascino che per lui hanno le cose antiche o che rievocano il passato, nella sua preferenza per la semplicita’, nel suo vivo interesse per gli antichi riti e consuetudini e per le antiche parole ed espressioni e, in senso piu’ ampio, in quella sua avversione per le persone invadenti che vogliono a ogi costo mettersi in evidenza, e contro le quali esercita la sua ironia. (203)
Mono no aware, vale dunque: il turbamento (aware) delle (no) cose (mono), cioe’: la commozione, la simpatia per le cose, gli altri esseri e la stessa natura ci ispirano. (204)
Il titolo Tsurezure-gusa e’ composto di due parole, … Il significato preciso del vocabolo tsurezure non e’ molto chiaro. Di solito viene reso con contemplazione, tempo libero, noia, ozio; ma sembra piuttosto indicare quella feconda beatitudine che riempie l’anima quand’essa e’ sola con se stessa, non turbata o distratt da altro, nel silenzio che la circonda. (209)
Nelle mie ore d’ozio, seduto davanti al calamaio, vado annotando giorno dopo giorno, senza alcun motivo particolare, ogni pensiero che mi passa per la mente, per quanto futile sia: e’ una cosa, questa, che mi procura una sensazione davvero strana, simile a una lieve ebbrezza. (13)
1 * Il lignaggio e l’aspetto noi lo riceviamo dalla natura: ma perche’ non dovremmo almeno far si’ che il nostro cuore diventi sempre piu’ saggio? (14)
13 * Non c’e’ cosa piu’ consolante che sedere sotto una lampada con un libro aperto e far conoscenza con coloro che son vissuti nei tempi passati. (19-20)
73 * Cio’ che in questo mondo viene tramandato e’ in gran parte frutto di fantasia; forse perche’ la verita’, in se’, non e’ mai particolarmente interessante. (53)
75 * Quali saranno mai i sentimenti di colui che vive in un ozio tedioso e melanconico? Stare soli, senza essere turbati da influenze esterne, e’ certo cosa gradita. Se si segue il mond, il proprio cuore viene facilmente traviato dall’impurita’. Frequentando la gente, la parola si adegua alle intenzioni altrui, non al proprio cuore. … Gli uomini sono tutti cosi’: corrono frenetici, e dimenticano la loro follia. (54)
Life is a well of delight; but where the rabble also drink, there all fountains are poisoned. (The rabble, xxviii, Thus Spake Zarathustra, Nietzsche)
91 * Cio’ che si e’ iniziato non giunge alla fine e cio’ a cui miriamo non si realizza, eppure i nostri desideri non hanno limite. Il cuore dell’uomo e’ instabile e tutte le cose non sono che illusioni. C’e’ qualcosa che rimanga, sia pur per breve tempo, immutato? (62)
105 * Nell’ombra del lato a settentrione della casa, dove la neve non sciolta era ghiacciata, stava ferma una vettura, le cui stanghe scintillavano di ghiaccioli. La luna dell’alba era tersa, ma qua e la’ v’erano angoli oscuri. Nel corridoio del tempio solitario sedevano sulla soglia di una porta un uomo, dall’aspetto distinto, e una donna. I due conversavano chissa’ di quale argomento, che sembrava non dovesse mai esaurirsi. Il modo con cui la donna inclinava il capo era segno di eleganza, e l’indefinibile profumo che emanava era delizioso. Quanto avrei voluto udire, sia pure in parte, cio’ che si dissero! (68-9)
108 * Nessuno in questo mondo conferisce valore all’istante. E’ forse per saggezza o per stupidita’? (70)
164 * Quando le persone si incontrano non stanno mai zitte un momento, hanno sempre qualcosa di cui discorrere; ma se si ascolta quel che dicono, si tratta quasi sempre di futilita’: voci senza fondamento, commenti benevoli o malevoli, … (101)
166 * Quando considero le cose per cui le creature umane si affannano, mi sembra come se, avendo costruito un Buddha di neve, esse fabbricassero ornamenti d’oro e d’argento e gioielli, e costruissero un tempio o una pagoda per lui. Potrebbe mai il Buddha di neve attendere la fine della costruzione?
Spesso all’uomo sembra che la vita duri eterna, e invece svanisce come neve e lascia molte cose incompiute. (102)
208 * Nel legare i rotoli dei sutra e’ stata sempre consuetudine avvolgere il laccio a croce, come nel tasuki, da sopra a sotto, facendone passare l’estremita’, tirandola per traverso, sotto l’incrocio, in modo da formare un cappio. (123)
211 * Non bisogna mai fidarsi di nessuno e di nulla, in nessuna occasione.
…
L’uomo e’ l’anima dell’universo, che non conosce limiti: come potrebbe dunque avere una natura diversa? Se agisce con larghezza di vedute e senza restrizioni, allora ne’ la gioia ne’ l’ira lo sfioreranno, ne’ le circostanze lo faranno soffrire. (125)
239 * Il quindicesimo giorno dell’ottava lunazione e il tredicesimo della nona sono dominati dalla costellazione Ro, che fa parte dell’Ariete. Poiche’ tale costellazione e’ straordinariamente luminosa, queste due notti sono particolarmente propizie per contemplar la luna. (142)
Makoto e’ dunque sentire, vivere immediatamente e attraverso i sensi le cose del mondo. E’ una forma di estrinsecazione dell’emotivita’ che, facendo perno sul cuore, ne manifesta i sentimenti in modo vigoroso, schietto e immediato.
…
Noi troviamo il makoto in Kenko in quel fascino che per lui hanno le cose antiche o che rievocano il passato, nella sua preferenza per la semplicita’, nel suo vivo interesse per gli antichi riti e consuetudini e per le antiche parole ed espressioni e, in senso piu’ ampio, in quella sua avversione per le persone invadenti che vogliono a ogi costo mettersi in evidenza, e contro le quali esercita la sua ironia. (203)
Mono no aware, vale dunque: il turbamento (aware) delle (no) cose (mono), cioe’: la commozione, la simpatia per le cose, gli altri esseri e la stessa natura ci ispirano. (204)
Il titolo Tsurezure-gusa e’ composto di due parole, … Il significato preciso del vocabolo tsurezure non e’ molto chiaro. Di solito viene reso con contemplazione, tempo libero, noia, ozio; ma sembra piuttosto indicare quella feconda beatitudine che riempie l’anima quand’essa e’ sola con se stessa, non turbata o distratt da altro, nel silenzio che la circonda. (209)
Nelle mie ore d’ozio, seduto davanti al calamaio, vado annotando giorno dopo giorno, senza alcun motivo particolare, ogni pensiero che mi passa per la mente, per quanto futile sia: e’ una cosa, questa, che mi procura una sensazione davvero strana, simile a una lieve ebbrezza. (13)
1 * Il lignaggio e l’aspetto noi lo riceviamo dalla natura: ma perche’ non dovremmo almeno far si’ che il nostro cuore diventi sempre piu’ saggio? (14)
13 * Non c’e’ cosa piu’ consolante che sedere sotto una lampada con un libro aperto e far conoscenza con coloro che son vissuti nei tempi passati. (19-20)
73 * Cio’ che in questo mondo viene tramandato e’ in gran parte frutto di fantasia; forse perche’ la verita’, in se’, non e’ mai particolarmente interessante. (53)
75 * Quali saranno mai i sentimenti di colui che vive in un ozio tedioso e melanconico? Stare soli, senza essere turbati da influenze esterne, e’ certo cosa gradita. Se si segue il mond, il proprio cuore viene facilmente traviato dall’impurita’. Frequentando la gente, la parola si adegua alle intenzioni altrui, non al proprio cuore. … Gli uomini sono tutti cosi’: corrono frenetici, e dimenticano la loro follia. (54)
Life is a well of delight; but where the rabble also drink, there all fountains are poisoned. (The rabble, xxviii, Thus Spake Zarathustra, Nietzsche)
91 * Cio’ che si e’ iniziato non giunge alla fine e cio’ a cui miriamo non si realizza, eppure i nostri desideri non hanno limite. Il cuore dell’uomo e’ instabile e tutte le cose non sono che illusioni. C’e’ qualcosa che rimanga, sia pur per breve tempo, immutato? (62)
105 * Nell’ombra del lato a settentrione della casa, dove la neve non sciolta era ghiacciata, stava ferma una vettura, le cui stanghe scintillavano di ghiaccioli. La luna dell’alba era tersa, ma qua e la’ v’erano angoli oscuri. Nel corridoio del tempio solitario sedevano sulla soglia di una porta un uomo, dall’aspetto distinto, e una donna. I due conversavano chissa’ di quale argomento, che sembrava non dovesse mai esaurirsi. Il modo con cui la donna inclinava il capo era segno di eleganza, e l’indefinibile profumo che emanava era delizioso. Quanto avrei voluto udire, sia pure in parte, cio’ che si dissero! (68-9)
108 * Nessuno in questo mondo conferisce valore all’istante. E’ forse per saggezza o per stupidita’? (70)
164 * Quando le persone si incontrano non stanno mai zitte un momento, hanno sempre qualcosa di cui discorrere; ma se si ascolta quel che dicono, si tratta quasi sempre di futilita’: voci senza fondamento, commenti benevoli o malevoli, … (101)
166 * Quando considero le cose per cui le creature umane si affannano, mi sembra come se, avendo costruito un Buddha di neve, esse fabbricassero ornamenti d’oro e d’argento e gioielli, e costruissero un tempio o una pagoda per lui. Potrebbe mai il Buddha di neve attendere la fine della costruzione?
Spesso all’uomo sembra che la vita duri eterna, e invece svanisce come neve e lascia molte cose incompiute. (102)
208 * Nel legare i rotoli dei sutra e’ stata sempre consuetudine avvolgere il laccio a croce, come nel tasuki, da sopra a sotto, facendone passare l’estremita’, tirandola per traverso, sotto l’incrocio, in modo da formare un cappio. (123)
211 * Non bisogna mai fidarsi di nessuno e di nulla, in nessuna occasione.
…
L’uomo e’ l’anima dell’universo, che non conosce limiti: come potrebbe dunque avere una natura diversa? Se agisce con larghezza di vedute e senza restrizioni, allora ne’ la gioia ne’ l’ira lo sfioreranno, ne’ le circostanze lo faranno soffrire. (125)
239 * Il quindicesimo giorno dell’ottava lunazione e il tredicesimo della nona sono dominati dalla costellazione Ro, che fa parte dell’Ariete. Poiche’ tale costellazione e’ straordinariamente luminosa, queste due notti sono particolarmente propizie per contemplar la luna. (142)
August 11, 2025
6/10
Zawsze urocze są dla mnie takie przemyślenia ludzi z odległej przeszłości. Zwłaszcza, gdy nie są one jakieś wyjątkowe i odkrywcze, tylko przedstawiają codzienny mindset człowieka sprzed 700 lat, dziś warte uwiecznienia raczej na twitterze, niż na papierze.
Zawsze urocze są dla mnie takie przemyślenia ludzi z odległej przeszłości. Zwłaszcza, gdy nie są one jakieś wyjątkowe i odkrywcze, tylko przedstawiają codzienny mindset człowieka sprzed 700 lat, dziś warte uwiecznienia raczej na twitterze, niż na papierze.
July 20, 2013
This is a miscellany. It is a collection of various thoughts and things and events that the author finds interesting. A journal basically, or a diary. Some of it was uninteresting to me though, and did not translate at all. Proper etiquette is discussed. What constitutes refined behavior, and other matters. He talks a lot about how this tradition has been performed during the time of this or that emperor.
Where the book shines is with regards to aesthetics. Yoshida shows a taste on things which is rooted on buddhist philosophy. Probably the best paragraphs in the book are the ones under the heading 'On Different Points of View," where the beauty of imperfect things are discussed. It begins:
"Is it only when the flowers are in full bloom and when the moon is shining in spotless perfection that we ought to gaze at them?"
From there it goes on a rather interesting sort of exposition, describing and praising refined behavior and condemning the unrefined behavior of some people.
The perspective is intimate (similar to the 'slice-of-life' genre in Japanese anime and manga), and might surprise you in how 'modern' the sentiment of the author is. It is a trove of information on the culture and behavior of people during the author's time.
My version is the 1914 translation by William N. Porter, and since I have no knowledge of Japanese, I cannot make any comment on it. This version is freely available online and I enjoin the reader to have a go at it, and read it in her Iphone or Android phone using an ebookreader while waiting for someone or going on a public commute in a train or any public vehicle, as she could find something of interest to her in it.
Where the book shines is with regards to aesthetics. Yoshida shows a taste on things which is rooted on buddhist philosophy. Probably the best paragraphs in the book are the ones under the heading 'On Different Points of View," where the beauty of imperfect things are discussed. It begins:
"Is it only when the flowers are in full bloom and when the moon is shining in spotless perfection that we ought to gaze at them?"
From there it goes on a rather interesting sort of exposition, describing and praising refined behavior and condemning the unrefined behavior of some people.
The perspective is intimate (similar to the 'slice-of-life' genre in Japanese anime and manga), and might surprise you in how 'modern' the sentiment of the author is. It is a trove of information on the culture and behavior of people during the author's time.
My version is the 1914 translation by William N. Porter, and since I have no knowledge of Japanese, I cannot make any comment on it. This version is freely available online and I enjoin the reader to have a go at it, and read it in her Iphone or Android phone using an ebookreader while waiting for someone or going on a public commute in a train or any public vehicle, as she could find something of interest to her in it.
April 16, 2015
Oh, how I wanted to love this book! Existential, poetic musings by a 14th century Buddhist monk. What's not to like, right? Well, unfortunately this monk comes across a lot more like a curmudgeon who's hung up on tradition, formality and overall reserve. While I can see that it's a very historically important work, the parables, anecdotes and recommendations come across a bit flat, at least for this modern reader.
I think my favorite musing was the following, in which the humor was most likely accidental, but welcome: "You should never put the new antlers of a deer to your nose and smell them. They have little insects that crawl into the nose and devour the brain.”
No doubt more historical/cultural background and context could help one appreciate the work more, but on its own, it seems to be missing something, especially compared with the Japanese poetry by other authors occasionally quoted within the work itself.
―
I think my favorite musing was the following, in which the humor was most likely accidental, but welcome: "You should never put the new antlers of a deer to your nose and smell them. They have little insects that crawl into the nose and devour the brain.”
No doubt more historical/cultural background and context could help one appreciate the work more, but on its own, it seems to be missing something, especially compared with the Japanese poetry by other authors occasionally quoted within the work itself.
―
March 5, 2023
Periodo medioevale, prima metà del 1300, giappone: un periodo turbolento e di incertezza, un monaco buddista che si dedica solo a vergare tutti i suoi pensieri. Ci troviamo a leggere pensieri, aneddoti, considerazione su una multitudine di soggetti, per lo più intrisi di filosofia buddista, una finestra sul pensiero dell'epoca con l'esaltazione della bellezza dell'effimero.
Il libro si è rilevato esattamente quello che mi aspettavo e mi è piaciuto: una immersione nella saggezza antica che aiuta a formare una percezione di quel mondo, e fa avvicinare a una cultura fondamentalmente diversa in sensibilità dalla nostra.
Fra i libri di filosofia storici di filosofia giapponese che ho letto quest'anno sicuramente è quello che ho apprezzato di più.
Il libro si è rilevato esattamente quello che mi aspettavo e mi è piaciuto: una immersione nella saggezza antica che aiuta a formare una percezione di quel mondo, e fa avvicinare a una cultura fondamentalmente diversa in sensibilità dalla nostra.
Fra i libri di filosofia storici di filosofia giapponese che ho letto quest'anno sicuramente è quello che ho apprezzato di più.
April 28, 2020
Lanterfanttips uit de 14e eeuw
De hedendaagse mens moet voortdurend iets doen. Zijn telefoon checken, zijn productiviteit verhogen, naar een vrijgezellenfeestje, aan een teambuildingsdag deelnemen, een festival bezoeken, een berg op fietsen voor het goede doel, een bucketlist afwerken, sociale media-accounts actualiseren, zijn lichaam verbeteren, leren ontspannen en mindful zijn. Van de veertiende-eeuwse Japanse monnik Kenkō (ca. 1283 tot ca. 1352) hoeven we dat allemaal niet te doen. In De kunst van het nietsdoen, prachtig soepel vertaald door Jos Vos, schrijft hij dat voedsel, kleding, een huis en toegang tot medische zorg genoeg zijn om een tevreden leven te leiden.
Medio maart kwam ons leven tot stilstand door het coronavirus. Na enkele persconferenties van de minister-president zijn we ervan doordrongen dat we nog een lange, rustige periode tegemoet gaan, zonder bezoek, barbecues, buitenlandse reizen, concerten, wandelvierdaagses, Formule 1-races enzovoort. Hoe lang we nog verstoken blijven van sociale contacten en georganiseerde activiteiten buitenshuis is onbekend. Het covidium, zoals deze periode wel wordt genoemd, heeft nog geen einddatum. Daar kun je volgens Kenkō maar beter in berusten. Het heeft immers geen zin ‘om plannen te smeden voor een toekomst die je nooit zult beleven’. Lees verder https://www.tzum.info/2020/04/recensi...
De hedendaagse mens moet voortdurend iets doen. Zijn telefoon checken, zijn productiviteit verhogen, naar een vrijgezellenfeestje, aan een teambuildingsdag deelnemen, een festival bezoeken, een berg op fietsen voor het goede doel, een bucketlist afwerken, sociale media-accounts actualiseren, zijn lichaam verbeteren, leren ontspannen en mindful zijn. Van de veertiende-eeuwse Japanse monnik Kenkō (ca. 1283 tot ca. 1352) hoeven we dat allemaal niet te doen. In De kunst van het nietsdoen, prachtig soepel vertaald door Jos Vos, schrijft hij dat voedsel, kleding, een huis en toegang tot medische zorg genoeg zijn om een tevreden leven te leiden.
Medio maart kwam ons leven tot stilstand door het coronavirus. Na enkele persconferenties van de minister-president zijn we ervan doordrongen dat we nog een lange, rustige periode tegemoet gaan, zonder bezoek, barbecues, buitenlandse reizen, concerten, wandelvierdaagses, Formule 1-races enzovoort. Hoe lang we nog verstoken blijven van sociale contacten en georganiseerde activiteiten buitenshuis is onbekend. Het covidium, zoals deze periode wel wordt genoemd, heeft nog geen einddatum. Daar kun je volgens Kenkō maar beter in berusten. Het heeft immers geen zin ‘om plannen te smeden voor een toekomst die je nooit zult beleven’. Lees verder https://www.tzum.info/2020/04/recensi...
September 29, 2025
Una raccolta numerata di appunti, ricordi, pensieri, riflessioni e aneddoti sulla vita, molti dei quali sono intrisi di tristezza, rammarico e presagi di morte.
Divertenti e talvolta irriverenti sono i brani dedicati a bonzi e novizi.
Non nancano consigli di bon ton, episodi incentrati su festività, ricorrenze e credenze popolari.
Ben presto il muschio crescerà sul tumulo, e le foglie cadute lo seppelliranno, e allora i temporali della sera e la luna notturna saranno i suoi soli visitatori. [...] E quando le erbe a ogni primavera ricopriranno il tumulo, qualche viandante dal cuore nobile sosterà commosso; sinché anche i pini che germevano nella bufera, prima di aver raggiunto i proverbiali mille anni di età, verranno tagliati per farne legna da ardere, e il vecchio tumulo sarà infine spianato dall'aratro per divenire campo. Com'è triste che persino la tomba debba sparire!
Divertenti e talvolta irriverenti sono i brani dedicati a bonzi e novizi.
Non nancano consigli di bon ton, episodi incentrati su festività, ricorrenze e credenze popolari.
Ben presto il muschio crescerà sul tumulo, e le foglie cadute lo seppelliranno, e allora i temporali della sera e la luna notturna saranno i suoi soli visitatori. [...] E quando le erbe a ogni primavera ricopriranno il tumulo, qualche viandante dal cuore nobile sosterà commosso; sinché anche i pini che germevano nella bufera, prima di aver raggiunto i proverbiali mille anni di età, verranno tagliati per farne legna da ardere, e il vecchio tumulo sarà infine spianato dall'aratro per divenire campo. Com'è triste che persino la tomba debba sparire!
June 21, 2025
Keer gekregen bij een Vintedbestelling. Wist niet goed wat te verwachten, maar niet te veel, blijkbaar.
Wijven, rijken en intellectuelen zijn allemaal dwazen, zo blijkt. Alcohol bad. People suck. Onze maatschappij gaat ten onder aan decadentie enzo. Beknopte samenvatting. Tijdgeest blabla gewoon geen gezellige vent die Kenko
Wijven, rijken en intellectuelen zijn allemaal dwazen, zo blijkt. Alcohol bad. People suck. Onze maatschappij gaat ten onder aan decadentie enzo. Beknopte samenvatting. Tijdgeest blabla gewoon geen gezellige vent die Kenko
June 20, 2020
Thêm 5 sao cho phần chú giải trong cuốn sách này.
August 6, 2014
If you're interested in historic Japanese Buddhist views on aesthetics, propriety, and the ideal life, you'll probably find this book worth looking at. I discovered Kenkō when I read The Art of the Personal Essay, which features a few excerpts from this work. I would suspect Essays in Idleness is a mixed bag for typical western readers. You have some passages that are categorically profound:
And then others that are so bound to their historic or cultural context as to render them almost meaningless to a typical non-scholar American like me:
This quote justifiably has half a page of footnotes that accompany it (in the Donald Keene translation), but it's inarguable that this passage and others like it just don't have much to offer people like me. Perhaps the most untranslatable passages are those where Kenkō elaborates on Japanese grammar, syntax, or vocabulary.
Riveting. In addition, there are some passages that are perhaps best described as straight non sequiturs.
So I'm not sure what to conclude about Essays in Idleness except that I found my time reading it ultimately well spent. I enjoyed reading the quirky nonsense, and the moving profundity. Here's one of my favorite passages.
Ultimately I feel like Kenkō has some worthwhile ideas to offer to a modern reader, and even despite the vast distance there is between he and I, I still often came away feeling in some sense having learned something.
When I sit down in quiet meditation, the one emotion hardest to fight against is a longing in all things for the past. After the others have gone to bed, I pass the time on a long autumn’s night by putting in order whatever belongings are at hand. As I tear up scraps of old correspondence I should prefer not to leave behind, I sometimes find among them samples of the calligraphy of a friend who has died, or pictures he drew for his own amusement, and I feel exactly as I did at the time. Even with letters written by friends who are still alive I try, when it has been long since we met, to remember the circumstances, the year. What a moving experience that is! It is sad to think that a man’s familiar possessions, indifferent to his death, should remain unaltered long after he is gone.
And then others that are so bound to their historic or cultural context as to render them almost meaningless to a typical non-scholar American like me:
Once when the retired emperor's courtiers were playing at riddles in the Daigakuji palace, the physician Tadamori joined them. The Chamberlain and Major Counselor Kinakira posed the riddle: "What is it, Tadamori, that doesn't seem to be Japanese?" Somebody gave the answer: "Kara-heiji—a metal wine jug." The other all joined in the laugh, but Tadamori angrily stalked out.
This quote justifiably has half a page of footnotes that accompany it (in the Donald Keene translation), but it's inarguable that this passage and others like it just don't have much to offer people like me. Perhaps the most untranslatable passages are those where Kenkō elaborates on Japanese grammar, syntax, or vocabulary.
The words "fixed complement" are used not only about priests at the various temples but in the Engishiki for female officials of lower rank. The words must have been a common designation for all officials whose numbers were fixed.
Riveting. In addition, there are some passages that are perhaps best described as straight non sequiturs.
You should never put the new antlers of a deer to your nose and smell them. They have little insects that crawl into the nose and devour the brain.
So I'm not sure what to conclude about Essays in Idleness except that I found my time reading it ultimately well spent. I enjoyed reading the quirky nonsense, and the moving profundity. Here's one of my favorite passages.
If we pick up a brush, we feel like writing; if we hold a musical instrument in our hands, we wish to play music. Lifting a wine cup makes us crave saké; taking up dice, we should like to play backgammon. The mind invariably reacts in this way to any stimulus. That is why we should not indulge even casually in improper amusements.
Even a perfunctory glance at one verse of some holy writing will somehow make us notice also the text that precedes and follows; it may happen then, quite suddenly, that we mend our errors of many years. Suppose we had not at that moment opened the sacred text, would we have realized our mistakes? This is a case of accidental contact producing a beneficial result. Though our hearts may not be in the least impelled by faith, if we sit before the Buddha, rosary in hand, and take up a sutra, we may (even in our indolence) be accumulating merit through the act itself; though our mind may be inattentive, if we st in meditation on a rope seat, we may enter a state of calm and concentration, without even being aware of it.
Phenomenon and essence are fundamentally one. If the outward form is not at variance with the truth, an inward realization is certain to develop. We should not deny that is is true faith; we should respect and honor a conformity to truth.
Ultimately I feel like Kenkō has some worthwhile ideas to offer to a modern reader, and even despite the vast distance there is between he and I, I still often came away feeling in some sense having learned something.
February 19, 2020
Second Review
Having read his trilogy-like, informative and well-written books entitled A History of Japan to 1334, A History of Japan 1334-1615, A History of Japan 1615-1867 (Stanford University Press 1996, 1994, 1993) since months ago, I resolved to revisit this booklet since I first read it with my vague familiarity in terms of his fame and Japanese authority, wondering if I would enjoy reading his 243-dan translations penned by a famous Buddhist monk Yoshida Kenko (c. 1283-c. 1352 AD); in fact, dan numbers 222, 223 and 224 [these three extracts included in the first review below] being omitted due to their "being unintelligible translation". (p. 91)
To continue . . .
First Review
3.75 stars
Written some 600 years ago by a Japanese Buddhist monk (https://en.wikipedia.org/wiki/Yoshida...) named Yoshida Kenko, this 243-passage book has since been famous for its witty anecdotes, observations, tips of thought, etc. as you can read about his life and works by visiting at https://en.wikipedia.org/wiki/Tsurezu.... A few years ago I first read its translated one Essays in Idleness and Hojoki (Penguin, 2013) by Dr Meredith McKinney so this is its second one I read and I look forward to reading the third one (Columbia University Press, 1998) translated by Professor Donald Keene.
When I came across its title many years ago, I didn't know why I thought it meant laziness; however, that was my partial understanding due to the word 'idle' which in fact means 'not having much to do, inactive (Nos. 2 & 3) as well as 'lazy' (No. 4) (https://en.wiktionary.org/wiki/idle#A...). Thus, we couldn't help wondering which meaning should be more appropriate in the 243-passage context. One of the reasons, I think, is that few authors (if any) would dare write their books in praise of laziness, in other words, it is more optimistically creative to have left such a monumental legacy to the world to read, ponder and apply so that they can manage and cope with their own inevitably temporary or permanent idleness while working and in retirement.
What should we do when we are idle? One of the famous quotes by Dr Samuel Johnson, the great and pioneering English Dictionary lexicographer in the 18th century, is that, "If you are idle, be not solitary; if you are solitary, be not idle" (Boswell, 1980, p. 1043); this implies one's activity whenever he/she is inactive having nothing to do.
Interestingly, Passages 222, 223 and 224 in Sansom's Essays have since been omitted, however, we can read them in the McKinney text as follows:
222
Once the monk Joganbo of Takadani was visiting Tonijo no In, that lady enquired what rites were particularly effective in praying for the soul of the deceased.
'The Komyo Shingon and the Hokyoin Darani,' he replied.
His disciples asked him later why he said this. 'Why didn't you tell her that nothing could be more effective than the nenbutsu?' they said.
'Indeed I would have liked to tell her this, since it is the teaching of our sect,' Joganbo replied, 'but I've never seen it stated in any of the texts that chanting the name of Amida is effective in praying for the dead. If her ladyship had gone on to ask me for a reference to justify my claim I would have been hard put for a reply, so I decided to give her an answer with scriptural foundation. That is why I gave these two names.'
223
The Tazu Minister's childhood name was Tazugimi. 'Tazu' is written with the character for 'crane', but the story that he acquired the name because he once reared cranes is mistaken.
224
The novice and Yin Yang master Arimune once sought me out when he had come up from Kamakura.
As soon as he came in, he said reprovingly, 'This garden is far too large - it's dreadful. People of real understanding put their energy into growing useful plants. You must turn all this into vegetable plots with a single narrow path between.'
It's quite true: it is a pointless waste to leave even the tiniest patch of land uncultivated. One should plant food or medicinal plants. (pp. 128-9)
Having read his trilogy-like, informative and well-written books entitled A History of Japan to 1334, A History of Japan 1334-1615, A History of Japan 1615-1867 (Stanford University Press 1996, 1994, 1993) since months ago, I resolved to revisit this booklet since I first read it with my vague familiarity in terms of his fame and Japanese authority, wondering if I would enjoy reading his 243-dan translations penned by a famous Buddhist monk Yoshida Kenko (c. 1283-c. 1352 AD); in fact, dan numbers 222, 223 and 224 [these three extracts included in the first review below] being omitted due to their "being unintelligible translation". (p. 91)
To continue . . .
First Review
3.75 stars
Written some 600 years ago by a Japanese Buddhist monk (https://en.wikipedia.org/wiki/Yoshida...) named Yoshida Kenko, this 243-passage book has since been famous for its witty anecdotes, observations, tips of thought, etc. as you can read about his life and works by visiting at https://en.wikipedia.org/wiki/Tsurezu.... A few years ago I first read its translated one Essays in Idleness and Hojoki (Penguin, 2013) by Dr Meredith McKinney so this is its second one I read and I look forward to reading the third one (Columbia University Press, 1998) translated by Professor Donald Keene.
When I came across its title many years ago, I didn't know why I thought it meant laziness; however, that was my partial understanding due to the word 'idle' which in fact means 'not having much to do, inactive (Nos. 2 & 3) as well as 'lazy' (No. 4) (https://en.wiktionary.org/wiki/idle#A...). Thus, we couldn't help wondering which meaning should be more appropriate in the 243-passage context. One of the reasons, I think, is that few authors (if any) would dare write their books in praise of laziness, in other words, it is more optimistically creative to have left such a monumental legacy to the world to read, ponder and apply so that they can manage and cope with their own inevitably temporary or permanent idleness while working and in retirement.
What should we do when we are idle? One of the famous quotes by Dr Samuel Johnson, the great and pioneering English Dictionary lexicographer in the 18th century, is that, "If you are idle, be not solitary; if you are solitary, be not idle" (Boswell, 1980, p. 1043); this implies one's activity whenever he/she is inactive having nothing to do.
Interestingly, Passages 222, 223 and 224 in Sansom's Essays have since been omitted, however, we can read them in the McKinney text as follows:
222
Once the monk Joganbo of Takadani was visiting Tonijo no In, that lady enquired what rites were particularly effective in praying for the soul of the deceased.
'The Komyo Shingon and the Hokyoin Darani,' he replied.
His disciples asked him later why he said this. 'Why didn't you tell her that nothing could be more effective than the nenbutsu?' they said.
'Indeed I would have liked to tell her this, since it is the teaching of our sect,' Joganbo replied, 'but I've never seen it stated in any of the texts that chanting the name of Amida is effective in praying for the dead. If her ladyship had gone on to ask me for a reference to justify my claim I would have been hard put for a reply, so I decided to give her an answer with scriptural foundation. That is why I gave these two names.'
223
The Tazu Minister's childhood name was Tazugimi. 'Tazu' is written with the character for 'crane', but the story that he acquired the name because he once reared cranes is mistaken.
224
The novice and Yin Yang master Arimune once sought me out when he had come up from Kamakura.
As soon as he came in, he said reprovingly, 'This garden is far too large - it's dreadful. People of real understanding put their energy into growing useful plants. You must turn all this into vegetable plots with a single narrow path between.'
It's quite true: it is a pointless waste to leave even the tiniest patch of land uncultivated. One should plant food or medicinal plants. (pp. 128-9)
December 9, 2022
edit: morala sam da dodam zvezdicu jer je u originalu mnogo lepše ali ipak nisi morao 10000 puta da kažeš da život nema smisla ljubi brat
June 9, 2018
The thing I enjoyed most about reading this was getting a feel for the author through each essay. The essays themselves varied from thought-provoking topics that are relevant for humanity as a whole, to personal grievances Kenko had with Japanese society at the time. There were plenty of times were a passage would make me stop, put the book down, and think about it for a while. But there were definitely other times when I found myself disagreeing with the author, even rolling my eyes at how he talked about social status and how much better things were "in the good ol' days." That really didn't make me enjoy this work any less though. Instead, I found Kenko's varied opinions a really fascinating character study of him as an individual, as well as a peek into the time in which he lived.
April 26, 2020
zebrane w tej książce krótkie teksty z przemyśleniami kenkō są napisane w bardzo elegancki, uspokajający sposób, a ich tematyka jest bardzo różnorodna - od plotek i anegdot o znanych osobach po bardziej filozoficzne przemyślenia o naturze czy przemijaniu. książka na pewno przybliża historię XIV-wiecznej japonii i jej estetykę. natomiast, po przeczytaniu kilku seksistowskich przemyśleń kenkō o "naturze kobiet", ciężko mi było traktować go, jako inteligentną osobę (choć wiem, że jego seksizm był wtedy normą) i przez to również jego pozostałe zapiski straciły dla mnie na wartości.
September 12, 2011
This has been a disappointment. I suppose I was looking for more Buddhist insight, but what one gets seems unfocussed and all over the map. Notes on historical importance of each section would have been helpful, instead of the too brief and diffuse Introduction.
February 25, 2022
Lo Tsurezuregusa è uno zuihitsu che letteralmente vuol dire “lasciar scorrere il pennello”. Sono brevi narrazioni, pennellate veloci come le associazioni di pensiero che l’autore vuole rappresentare.
Alcuni di questi concetti sono un’interessante fonte di ispirazione anche per i giorni nostri
Alcuni di questi concetti sono un’interessante fonte di ispirazione anche per i giorni nostri
January 31, 2021
“People say I ain’t doin’ much / doin’ nothing means a lot to me!”Dit citaat van de Australische wijsgeer Bon Scott (1946-1980) prijkte in mijn middelbare schooltijd in sierlijke gekrulde letters op mijn mooiste schoolkaft. 't Is maar om te zeggen: ik ben al lang met niets bezig. Later ontdekte ik in dada en zen nog meer schoonheid en kunst van het niets.
Ook de veertiende-eeuwse Japanse monnik Kenko was goed in niets. Enkele van zijn beste fragmenten werden onlangs mooi en vlot vertaald in het Nederlands. Probleem is dat je over niets niet kan schrijven, want dan wordt het iets, maar wie echt goed is in niets, trekt zich daar niets van aan. Zo ook Kenko.
Deze verzameling bezinnende notities is geen lectuur om avonden mee te vullen. Maar het is een prima boekje om naast je bed te hebben leggen, om ’s avond voor het slapengaan af en toe aan het belang van niets te denken.
Onderweg krijg je wijze raad mee, zoals:
“Je moet een pas aangegroeid hertengewei nooit tegen je neus houden. Er zitten kleine beestjes in die door je neusgaten naar binnen kruipen en je hersenen opvreten.”Of ook:
“Wie hooggeboren is, kan maar beter geen kinderen hebben en voor wie laaggeboren is geldt dat nog meer.”Maar daar ben ik het natuurlijk niet mee eens! That would be 'a touch too much'!
Bon Scott (1946-1980)
April 5, 2021
Joutilaan mietteitä on kokoelma lyhyitä ja vielä lyhyempiä mietteitä: ajatuksia runoudesta ja hyvästä hallintotavasta, ihmisten persoonallisuudesta ja viestintätaidoista, opettavaisia tai ihan vain huvittavia anekdootteja. Keskeisenä Kenkoun tarinoissa on se, ettei ihmisen tulisi nolata itseään sopimattomalla käyttäytymisellä. Sekä oma asiantuntijuus että oma asiantuntemattomuus tulee piilottaa. Yksittäinen merkintä voi käsitellä niin jonkin sanan etymologiaa kuin katoamassa olevaa tai jo kadonnutta perinnäistapaa. Jotkin merkinnöistä ovat nykylukijalle käsittämättömiä - mitä väliä sillä on, mihin suuntaan jonkin intialaisen temppelin pääovet ovat? Lienee toki ollut tärkeä tieto aikanaan.
"Jos haluaa tyyten välttyä kömmähdyksiltä, on parasta olla rehellinen joka käänteessä, kunnioittaa erotuksetta kaikkia kanssaihmisiä ja säästellä sanoja." - CCXXXIII
Minua huvitti suunnattomasti, miten monet Kenkoun ajatuksista sopivat nykyaikaankin ja miten vanhat miehet jaksavat vuosituhannesta toiseen negistellä nykyajan höpötyksistä. Nykyajassa (1300-luvussa) on Kenkoun mielestä pielessä jos ja vaikka mikä ihmisistä perinnäistapojen näivettymiseen. Kenkou on myös avoimen misogynistinen, muttei onnekseen millään muotoa rasistinen. Oli kuin olisi lukenut 700 vuoden takaisia Facebook-päivityksiä.
"Kukaan tuskin joutuisi pulaan, vaikka Kiinasta ei meille tuotaisi mitään - lääkkeitä lukuunottamatta." -CXX
Henkilökohtainen vuosisatahaaste: 1300-luku.
"Jos haluaa tyyten välttyä kömmähdyksiltä, on parasta olla rehellinen joka käänteessä, kunnioittaa erotuksetta kaikkia kanssaihmisiä ja säästellä sanoja." - CCXXXIII
Minua huvitti suunnattomasti, miten monet Kenkoun ajatuksista sopivat nykyaikaankin ja miten vanhat miehet jaksavat vuosituhannesta toiseen negistellä nykyajan höpötyksistä. Nykyajassa (1300-luvussa) on Kenkoun mielestä pielessä jos ja vaikka mikä ihmisistä perinnäistapojen näivettymiseen. Kenkou on myös avoimen misogynistinen, muttei onnekseen millään muotoa rasistinen. Oli kuin olisi lukenut 700 vuoden takaisia Facebook-päivityksiä.
"Kukaan tuskin joutuisi pulaan, vaikka Kiinasta ei meille tuotaisi mitään - lääkkeitä lukuunottamatta." -CXX
Henkilökohtainen vuosisatahaaste: 1300-luku.
July 29, 2024
Lectura que he hecho por lo mucho que me gustó en su día «Pensamientos desde mi cabaña» de Kamo No Chomēi. Tanto esta, como la obra de Chomēi, son diarios/cuadernos de hombres que abandonaron su vida como aristócratas para retirarse en una cabaña en medio del monte.
«Pensamientos al vuelo» se asemeja a un libro de aforismos, lleno de capítulos breves con una enseñanza o reflexión. Los pensamientos de Kenkō no siguen una estructuras o tema en específico. El señor te habla de todo, bien te pone una reflexión budista, como un chascarrillo, como una anécdota de algún miembro de la corte, como una divagación estética sobre la belleza de las estaciones. Pero por muy variado que esto sea, el libro se me ha hecho bastante pesado porque sus reflexiones no me parece que digan gran cosa.
No considero que sea un mal libro, pero no me ha interesado y su lectura me ha resultado un tanto estéril. El libro de Chomēi es mucho más breve, certero y, a mi gusto, más humano. En esta obra sí de siente el conflicto que lo lleva a separarse del mundo. Además el autor, aún siendo monje, no seguía a rajatabla las normas religiosas y discrepaba en algunos aspectos, dando un poco más de complejidad al texto y a la vida del autor. En cambio, en la obra de Kenkō solo he encontrado un cuaderno moralista, que se sentía distante y que muchas veces se dedicaba a reafirmar sus creencias budistas.
«Pensamientos al vuelo» se asemeja a un libro de aforismos, lleno de capítulos breves con una enseñanza o reflexión. Los pensamientos de Kenkō no siguen una estructuras o tema en específico. El señor te habla de todo, bien te pone una reflexión budista, como un chascarrillo, como una anécdota de algún miembro de la corte, como una divagación estética sobre la belleza de las estaciones. Pero por muy variado que esto sea, el libro se me ha hecho bastante pesado porque sus reflexiones no me parece que digan gran cosa.
No considero que sea un mal libro, pero no me ha interesado y su lectura me ha resultado un tanto estéril. El libro de Chomēi es mucho más breve, certero y, a mi gusto, más humano. En esta obra sí de siente el conflicto que lo lleva a separarse del mundo. Además el autor, aún siendo monje, no seguía a rajatabla las normas religiosas y discrepaba en algunos aspectos, dando un poco más de complejidad al texto y a la vida del autor. En cambio, en la obra de Kenkō solo he encontrado un cuaderno moralista, que se sentía distante y que muchas veces se dedicaba a reafirmar sus creencias budistas.
July 25, 2024
Essays in Idleness, though it better translates to Essays Written in Idlness, as few of the essays actually deal with idleness. In fact only one does, where Kenkō writes how he loves to have nothing to do. No elaboration.
Calling his writings essays, then, is a stretch as well. Kenkō was a Buddhist priest living in the city in ancient Japan, and his 'essays' are mostly observations on many aspects of life. Some are interesting, such as his writings on impermanence and imperfection. Others are unclear, unexplained, or so banal they become funny. Take a couple examples:
"Court caps in recent years have become much taller than formerly. People who own the old fashioned boxes must add an extra lid to accomodate the new caps."
"It is best not to change something if changing it will not do any good."
His thought is also inconsistent at times; most notably, he writes of accepting the law of change in life, yet dislikes changes from established tradition. Or, he condemns alcohol, but writes that "a nice cup of saké is good once in awhile." Cheers to that man.
Overall, this reminded me of listening to the thoughts of an old homeless man today: some tidbits of insight and wisom mixed with general incoherence. But hey, I always have fun listening to them, and I had fun reading this book.
Calling his writings essays, then, is a stretch as well. Kenkō was a Buddhist priest living in the city in ancient Japan, and his 'essays' are mostly observations on many aspects of life. Some are interesting, such as his writings on impermanence and imperfection. Others are unclear, unexplained, or so banal they become funny. Take a couple examples:
"Court caps in recent years have become much taller than formerly. People who own the old fashioned boxes must add an extra lid to accomodate the new caps."
"It is best not to change something if changing it will not do any good."
His thought is also inconsistent at times; most notably, he writes of accepting the law of change in life, yet dislikes changes from established tradition. Or, he condemns alcohol, but writes that "a nice cup of saké is good once in awhile." Cheers to that man.
Overall, this reminded me of listening to the thoughts of an old homeless man today: some tidbits of insight and wisom mixed with general incoherence. But hey, I always have fun listening to them, and I had fun reading this book.
May 1, 2021
Schitterende, geinige verzameling van 14de eeuwse Japanse aforismen, parabellen, korte essays en beschouwingen. Af een toe een beetje maffe stukjes waarvan de strekking me geheel onduidelijk bleef, maar dat vond ik dan wel weer geestig. Verder ook voldoende stukjes die intentioneel geinig bedoeld waren en dat effect dan ook bewerkstelligde.
Ik las dit boek voor m'n studie over ledigheid en het was dan ook verfrissend om te lezen hoe Kenko ledigheid als iets goeds zag.
Meer hier over kun je lezen in m'n essay op m'n blog.
De vertaler J.Vos heeft een schitterend werk opgeleverd met maar liefst 299 voetnoten waarin hij duiding geeft aan alle verwijzingen naar andere oeroude Aziatische literaire werken die Kenko maakt.
Ik las dit boek voor m'n studie over ledigheid en het was dan ook verfrissend om te lezen hoe Kenko ledigheid als iets goeds zag.
Meer hier over kun je lezen in m'n essay op m'n blog.
De vertaler J.Vos heeft een schitterend werk opgeleverd met maar liefst 299 voetnoten waarin hij duiding geeft aan alle verwijzingen naar andere oeroude Aziatische literaire werken die Kenko maakt.
October 22, 2025
This book is so freaking cool!
Written about 700 years ago as a series of almost 250 journal entries or passing thoughts this book details fun aspect of life in Japan at the time, but even more amazingly, still holds a wonderfully insightful mirror into the unchanging and universal aspects of human nature.
I can't think of a book that I've collected more quotes from in the last 20 years than this one! Kenko is a joy to read and makes for perfect quick reads. I would read several entries, and that would give me some fun things to think about as walked away and continued on my day.
Special mention goes to Donald Keene and his amazing translation, not to mention epic amounts of research and footnotes!! Unless we're reading Terry Pratchett I know most of us groan when we see "footnotes" but for this work they really did take the text to the next level and present us with waaay more info than we could need, but should we want it, it's right there for the taking!
Written about 700 years ago as a series of almost 250 journal entries or passing thoughts this book details fun aspect of life in Japan at the time, but even more amazingly, still holds a wonderfully insightful mirror into the unchanging and universal aspects of human nature.
I can't think of a book that I've collected more quotes from in the last 20 years than this one! Kenko is a joy to read and makes for perfect quick reads. I would read several entries, and that would give me some fun things to think about as walked away and continued on my day.
Special mention goes to Donald Keene and his amazing translation, not to mention epic amounts of research and footnotes!! Unless we're reading Terry Pratchett I know most of us groan when we see "footnotes" but for this work they really did take the text to the next level and present us with waaay more info than we could need, but should we want it, it's right there for the taking!
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