The mistress and harp of burma

In Nipponese Literature, stories have ofttimes depicted what greatly influenced the prevalent achievement of common keep and social sentiment. In the deuce books written by Japanese authors in devil separate periods of Japans history, a transition is clearly seen through literature often verbalised in superb storytelling.In Ogai Moris The Wild Geese, world struggle is greatly influenced by tales of cheat 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 established during the period for which Ogais invigorated was actually written apparently brought forward the view to openly discuss Japans so-called evil customs and traditions in a compress to strengthen the imperial rule.Okada, as one of the main characters clearly narrated how he felt that a fair sex should be only a beautiful object, something loveable, a being who keeps her beauty and loneliness no emergence what the situation she is in (Ogai, 20). In the same page, Okada added that this sentiment is brought about under the influence of habitual information of old Chinese love stories. There is therefore a clear view in rule that establishes a need to disregard culture and minds that wrongly adapted the old Oriental ways which often restricted free-thinkers to intellectually prosper.In Toyodas moving-picture show, The Mistress, adapted from Mori Ogais The Wild Geese, oriental set was the main discussion with aims to expose the ancient cultural standards that stand in the way of personal freedom. In Otama we see the oppressed and marginalized people driven and deceived without any hope of being uplifted from the moral and constraining 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 class which somehow voices out a need for reform in the Meiji Restoration period.Several decades later after Japan was able to stand on its own two feet, Japan experienced a wartime defeat that brought home sad stories of soldiers taken as prisoners of war. Takayamas populate of Burma showed pacifism as the main aim of both refreshed and on film. We have to be set for hardship, for all we know, we may die here in Burma. If that time comes, let us die unneurotic, (Takeyama, 33).Such poignant words relay veiled patriotism whose desire for peace in an truce agreement with their British captors aims to relay the evils of war. Written during a period where wartime horrors still stayed afresh in the minds of the Japanese people, there was not an ounce of blame or an aim to proclaim the evils of their captors. Its sincere inward idea was just to dwell on the problems the war brought to everyone involved.In retrospect, The Harp of Burma establishes a fater humanistic joining to young day events where peace is the common desire of mankind. The movie through cinematic effect exceeds sensory materialization 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 criticism how one favors such madness that resulted 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 survival, 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 longing for the fatherland while emphasizing compassion in the midst of survival and atrocities. As a human interest film, Fires on the Plain arouses a relative connection through esthetic performance of reality in full color for young viewers to understand how wars wreak and jade even the strongest heart.Works CitedMori, Ogai trans. Ociai, Kingo and Goldstein, Sanford (1959). The Wild Geese. BostonTuttle PublishingTakeyama, Michio trans., Howard Hibbett ( 1966). Harp of Burma. Boston Tuttle Publishing.