欧宝娱乐

“Under the sun the couple presented smiles to the world. Under the moon, they were lost in thought: and so they had quietly passed the years.”
― S艒seki Natsume, The Gate

“He could only marvel, then, at how those first, colorless murmurings had led to a future for the both of them dyed with the brightest of reds.”
― S艒seki Natsume, The Gate

“How to adjust to a world in which the climax of a scene鈥� and sometimes the central event鈥� is going to sleep? We鈥檙e going to have to adapt, maybe even invert our sense of priority and our assumptions about what constitutes drama, as most of us foreigners have to do when traveling to Japan.”
― Pico Iyer, The Gate

“To be able to muster so many complaints about one little thing鈥� yes, you鈥檒l get ahead, that鈥檚 for sure.”
― Natsume S艒seki, The Gate

“THE UNION between S艒suke and Oyone had dyed their existence a somber hue and reduced their presence, they felt, to mere wraiths that barely cast a shadow on the world. From one year to the next each lived with the sensation of harboring deep inside a frightening moral contagion, though neither one of them ever acknowledged this feeling to the other.”
― Natsume S艒seki, The Gate

“S艒suke had never claimed to be the kind of strong man who could be felled only by an abrupt, totally unforeseeable event such as this. He had no doubt that far gentler methods would have been sufficient to dispose of a weakling like himself.”
― Natsume S艒seki, The Gate

“It was destiny鈥檚 role to enforce this repetition; it was S艒suke鈥檚 lot to dodge the consequences.”
― Natsume S艒seki, The Gate

“Back then, unlike the present, he had many friends. The plain truth of it was that in his cheerfully callow view all people appeared, more or less interchangeably, as friends. He lightly traversed his youth with optimism intact”
― S艒seki Natsume, The Gate

“classic work like The Tale of Genji, as one recent translator has it, 鈥淭he more intense the emotion, the more regular the meter.鈥� As in the old-fashioned England in which I grew up鈥攖hough more unforgivingly so鈥攖he individual鈥檚 job in public Japan is to keep his private concerns and feelings to himself and to present a surface that gives little away. That the relation of surface to depth is uncertain is part of the point; it offers a degree of protection and makes for absolute consistency. The fewer words spoken, the easier it is to believe you鈥檙e standing on common ground. One effect of this careful evenness鈥攁 maintenance of the larger harmony, whatever is happening within鈥攊s that to live in Japan, to walk through its complex nets of unstatedness, is to receive a rigorous training in attention. You learn to read the small print of life鈥攖o notice how the flowers placed in front of the tokonoma scroll have just been changed, in response to a shift in the season, or to register how your visitor is talking about everything except the husband who鈥檚 just run out on her. It鈥檚 what鈥檚 not expressed that sits at the heart of a haiku; a classic sumi-e brush-and-ink drawing leaves as much open space as possible at its center so that it becomes not a statement but a suggestion, an invitation to a collaboration. The reader or viewer is asked to complete a composition, and so the no-color surfaces make”
― Natsume S艒seki, The Gate

“This reticence has little to do with trying to protect oneself and everything to do with trying to protect others from one鈥檚 problems, which shouldn鈥檛 be theirs; it鈥檚 one reason Japan is so confounding to foreigners, as its people faultlessly sparkle and attend to one another in in public, while often seeming passive and unconvinced of their ability to do anything decisive at home.”
― Pico Iyer, The Gate

“S艒seki is an unusually intimate writer鈥� the public world is only his concern by implication鈥� and in Japan (again as in the England that I know) intimacy is shown not by all that you can say to someone else, but by all that you don鈥檛 need to say.”
― Pico Iyer, The Gate

“how every character is effectively a tiny figure in a suffocating world of associations and obligations; where many an American novel might send its protagonist out into the world to make his own destiny, in S艒suke鈥檚 Japan he cannot move for all his competing (and unmeetable) responsibilities to his aunt, his younger brother, his wife, and society itself.”
― Pico Iyer, The Gate

“For some reason I have become terribly serious since arriving here,鈥� S艒seki wrote, in his 鈥淟etter from London,鈥� a year after his arrival in England. 鈥淟ooking and listening to everything around me, I think incessantly of the problem of 鈥楯apan鈥檚 future.鈥欌€� Its future, then as now, involves trying to make a peace, or form a synthesis, between the ancient Chinese ideal of sitting still and watching the seasons pass, tending to social harmonies, and the new American way of pushing forward individually , convinced that tomorrow will be better than today.”
― Pico Iyer, The Gate

“They kept on together by force of a steadfast mixture of resignation and forbearance, seemingly without the balm of hope or any prospect for a better future. As for the past, they rarely spoke of it. Indeed at times they appeared to shun even the mere mention of bygone days, as if by by tacit agreement.”
― Natsume S艒seki, The Gate

“Realizing that both this Sunday and the fine weather that had accompanied it had drawn to a close, a certain mood came over him: a sense that such things did not last for long, and that this was a great pity. From tomorrow he would again, as always, be busy at work -- the thought brought on pangs of regret for the good life he had tasted for this one afternoon. The mindless activity that filled the other six days of the week seemed utterly dreary.”
― Natsume S艒seki, The Gate

“袩芯褋谢械 褍卸懈薪邪 褋褍锌褉褍谐懈, 褋懈写褟 胁褋褢 褍 褌芯谐芯 卸械 褏懈斜邪褌懈, 械褖褢 褋 褔邪褋 斜械褋械写芯胁邪谢懈 薪邪 芯斜褘褔薪褘械 褌械屑褘, 泻邪褋邪褞褖懈械褋褟 懈褏 卸懈蟹薪懈, 褌芯谢褜泻芯 芯斜褏芯写懈谢懈 屑芯谢褔邪薪懈械屑 胁褋褟褔械褋泻懈械 薪械胁蟹谐芯写褘, 胁锌褉芯褔械屑, 薪械 锌褉械写褋褌邪胁谢褟褟 褋械斜械, 泻邪泻, 薪邪锌褉懈屑械褉, 锌芯谐邪褋懈褌褜 蟹邪写芯谢卸械薪薪芯褋褌褜 胁 褉懈褋芯胁芯泄 谢邪胁泻械, 褏芯褌褟 斜谢懈蟹懈谢褋褟 泻芯薪械褑 屑械褋褟褑邪. 袠 褍卸械 薪械 斜褘谢芯 胁 懈褏 褉邪蟹谐芯胁芯褉械 锌芯懈褋褌懈薪械 褍写懈胁懈褌械谢褜薪褘褏 懈 泻褉邪褋芯褌芯泄 褋胁芯械泄, 懈 褑胁械褌懈褋褌芯褋褌褜褞 褋谢芯胁, 薪械褍谢芯胁懈屑芯 褋泻芯谢褜蟹褟褖懈褏 屑械卸写褍 胁谢褞斜谢褢薪薪褘屑懈. 袗 褔褌芯斜褘 芯斜屑械薪褟褌褜褋褟 屑薪械薪懈褟屑懈 芯 泻邪泻芯屑-薪懈斜褍写褜 锌褉芯褔懈褌邪薪薪芯屑 褉芯屑邪薪械 懈谢懈 褌邪屑 薪邪褍褔薪芯泄 泻薪懈谐械 鈥� 褌邪泻芯械 懈屑 懈 胁 谐芯谢芯胁褍 薪械 锌褉懈褏芯写懈谢芯. 袙褋褢 褝褌芯 芯褋褌邪谢芯褋褜 锌芯蟹邪写懈, 懈 褏芯褌褟 写芯 褋褌邪褉芯褋褌懈 械褖褢 斜褘谢芯 写邪谢械泻芯, 卸懈蟹薪褜 褋 泻邪卸写褘屑 写薪褢屑 褋褌邪薪芯胁懈谢邪褋褜 胁褋褢 斜械褋褑胁械褌薪械械, 胁褋褢 褋泻褍褔薪械械. 袗 屑芯卸械褌 斜褘褌褜, 褌邪泻 斜褘谢芯 胁褋械谐写邪, 屑芯卸械褌 斜褘褌褜, 芯斜邪 芯薪懈, 褋邪屑懈 褋泻褍褔薪褘械 懈 斜械褋褑胁械褌薪褘械, 褋芯械写懈薪懈谢懈 褋胁芯懈 褋褍写褜斜褘, 褔褌芯斜褘, 胁 褋懈谢褍 芯斜褘褔邪褟, 胁谢邪褔懈褌褜 褍薪褘谢芯械 褋褍锌褉褍卸械褋泻芯械 褋褍褖械褋褌胁芯胁邪薪懈械.”
― S艒seki Natsume, The Gate

“But it speaks for an inner world鈥� and again this is evident in Murakami鈥� that sits in a different dimension from the smooth-running, flawlessly attentive, and all but anonymous machine that keeps public order moving forward so efficiently in Japan.”
― Pico Iyer, The Gate