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内容紹介
Between 1330 and 1332 the Buddhist priest Kenko, having, as he put it, "nothing better to do," turned to his ink stone and brushes. He jotted own 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.
著者について
Kenko (also known as Urabe no Kaneyoshi or Yoshida non Kaneyoshi) is believed to have lived from 1283 to 1350. The members of his family were hereditary Shinto priests of modest rank, but the youthful Kenko’s poetic abilities won him a place at the imperial court. He became a Buddhist priest in 1324 after the death of the retired Emperor Go-Uda, whom Kenko had served. Though Buddhist though figures prominently in this book, Kenko was no secluded monk: remaining in Kyoto, he was as preoccupied with worldly gossip as he was with pious reflections. Essays in Idleness apparently was unknown to the public during Kenko’s lifetime, but he achieved a considerable reputation as a poet and as an expert on old traditions.
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