Meiji Quotes

#1. I can tell right away by looking at you what you want to eat," he says. "I can tell how many brothers and sisters you have."
After divining my favorite color (blue) and my astrological sign (Aquarius), Nakamura pulls out an ivory stalk of takenoko, fresh young bamboo ubiquitous in Japan during the spring. "This came in this morning from Kagumi. It's so sweet that you can eat it raw." He peels off the outer layer, cuts a thin slice, and passes it across the counter.
First, he scores an inch-thick bamboo steak with a ferocious santoku blade. Then he sears it in a dry sauté pan until the flesh softens and the natural sugars form a dark crust on the surface. While the bamboo cooks, he places two sacks of shirako, cod milt, under the broiler. ("Milt," by the way, is a euphemism for sperm. Cod sperm is everywhere in Japan in the winter and early spring, and despite the challenges its name might create for some, it's one of the most delicious things you can eat.)
Nakamura brings it all together on a Meiji-era ceramic plate: caramelized bamboo brushed with soy, broiled cod milt topped with miso made from foraged mountain vegetables, and, for good measure, two lightly boiled fava beans. An edible postcard of spring. I take a bite, drop my chopsticks, and look up to find Nakamura staring right at me.
"See, I told you I know what you want to eat."
The rest of the dinner unfolds in a similar fashion: a little counter banter, a little product display, then back to #Quote by Matt Goulding

#2. Hirota feels strongly drawn toward nature and the natural, is hyper-sensitive to the artificial - particularly that most cramped and constraining man-made creation, society - and does his best to avoid it. #Quote by Soseki Natsume

#3. Anyone who sang the praises of undying love in this day and age belonged to the first rank of hypocrites in Daisuke's estimate. #Quote by Soseki Natsume

#4. Daisuke was of course equipped with conversation that, even if they went further, would allow him to retreat as if nothing had happened. He had always wondered at the conversations recorded in Western novels, for to him they were too bald, too self indulgent, and moreover, too unsubtly rich. However they read in the original, he thought they reflected a taste that could not be translated into Japanese. Therefore, he had not the slightest intention of using imported phrases to develop his relationship with Michiyo. Between the two of them at least, ordinary words sufficed perfectly well. But the danger was of slipping from point A to point B without realizing it. Daisuke managed to stand his ground only by a hair's breadth. When he left, Michiyo saw him to the entranceway and said, "Do come again, please? It's so lonely. #Quote by Soseki Natsume

#5. If you get beautiful, bright and scratch less jewel,
Without constant polishing and cleaning,
It will lose its brightness by a little dust.
So human heart also,
Beautiful heart cannot be kept without constant polishing.

Meiji Renno (Cyosei)
122nd Emperor of Japan
I love this quote. Just keep on trying to do your best! #Quote by C.D. Field

#6. Life is a tiring business indeed.

Soy sauce runs out. Milk runs out. Dishwashing detergent runs out. Lancôme lipsticks - I thought I had stockpiled several years' worth - run out. Dust underneath the dining table becomes dust balls. Newspapers and magazines pile up, and so does laundry. E-mail and junk mail keep coming. When occasion demands, I make myself presentable and I present myself. I listen to my sister's same old complaints on the phone. I withdraw money for my elderly mother, whose tongue works fine but whose body is a mess. I contact her caseworker. And now I have reached a stage in life when my own health is prone to betray me. #Quote by Minae Mizumura

#7. The call for political freedom took place long ago. The call for freedom of speech is also a thing of the past. Freedom is not a word to be used exclusively for phenomena such as this which are so easily given outward manifestation. I believe that we young men of the new age have encountered the moment in time when we must call for that great freedom, the freedom of the mind. #Quote by Soseki Natsume

#8. People called Mother a beauty, when she was young. I remember her very well in those days - until I was fourteen or fifteen she was as beautiful as ever. When I compare that memory of her with Satsuko, the contrast is really striking. Satsuko is also called a beauty. That was the main reason why Jokichi married her. But between these two beauties, between the 1890's and now, what a change has taken place in the physical appearance of the Japanese woman! For example, Mother's feet were beautiful too, but Satsuko's have an altogether different kind of beauty. They hardly seem to belong to a woman of the same race. Mother had dainty feet, small enough to nestle in the palm of my hand, and as she tripped along in her straw sandals she took extremely short, mincing steps with her toes turned in. (I am reminded that in my dream Mother's feet were bare except for her sandals, even though she was dressed to go visiting. Perhaps she was deliberately showing off her feet to me.) All Meiji women had that pigeon-like walk, not just beauties. As for Satsuko's feet, they are elegantly long and slender; she boasts that ordinary Japanese shoes are too wide for her. On the contrary, my mother's feet were fairly broad, rather like those of the Bodhisattva of Mercy in the Sangatstudo in Nara. Also, the women of their day were short in stature. Women under five feet were not uncommon. Having been born in the Meiji era, I am only about five feet two myself, but Satsuko is an inch and a half talle #Quote by Junichiro Tanizaki

#9. And yet, as you all know, joining humanity is never a simple matter. By beginning to live the same temporality as Westerners, the Japanese now had to live two temporalities simultaneously. On the one hand, there was Time with a capital "T," which flows in the West. On the other hand, there was time with a small "t," which flows in Japan. Moreover, from that point on, the latter could exist only in relation to the former. It could no longer exist independently, yet it could not be the same as the other, either. If I, as a Japanese, find this new historical situation a bit tragic, it's not because Japanese people now had a live in two temporalities. It's rather because as a result of having to do so, they had no choice but to enter the asymmetrical relationship that had marked and continues to mark the modern world - the asymmetrical relationship between the West and the non-West, which is tantamount, however abstractly, to the asymmetrical relationship between what is universal and all the rest that is merely particular. #Quote by Minae Mizumura

#10. Shina is the Japanese appellation for China most commonly used during the first half of the twentieth century. After World War II the name for China reverted to chugoku (Middle Kingdom), a common name from before the Meiji Restoration (1868).4 #Quote by Stefan Tanaka

#11. Honda did not necessarily cling to the historical school of law, which was influenced by nineteenth-century romanticism, nor to the ethnic school. The Japan of the Meiji era, indeed, needed a nationalistic type of law, one that had its roots in the philosophy of the historical school. But Honda's concerns were quite different. He had first been intent on isolating the essential principle behind all law, a principle which he felt must exist. #Quote by Yukio Mishima

#12. You will tell me that there always exists a chasm between the world depicted in novels and films and the world that people actually live in. It is the chasm between the world mediated by art and the world unmediated by art, formless and drab. You are absolutely right. The gap that my mother felt was not necessarily any deeper than the gap felt by a European girl who loved books and films. Yet there is one critical difference. For in my mother's case, the chasm between the world of art and real life also symbolized something more: the asymmetrical relationship I mentioned earlier - the asymmetrical relationship between those who live only in a universal temporality and those who live in both a universal and a particular one.

To make this discussion a little more concrete, let me introduce a character named Francoise. Francoise is a young Parisienne living before World War II. Like my mother, she loves reading books and watching films. Also like my mother, she lives in a small apartment with her mother, who is old, shabby looking, and illiterate. One day Francoise, full of artistic aspirations, writes an autobiographical novel. It is the tale of her life torn between the world of art and the world of reality. (Not an original tale, I must say.) The novel is well received in France. Several hundred Japanese living in Japan read this novel in French, and one of them decides to translate it into Japanese. My mother reads the novel. She identifies with the heroine and sa #Quote by Minae Mizumura

#13. When I was at the University I knew a law student named Yamada Uruu. Later he worked for the Osaka Municipal Office; he's been dead for years. This man's father was an old-time lawyer, or "advocate," who in early Meiji defended the notorious murderess Takahashi Oden. It seems he often talked to his son about Oden's beauty. Apparently he would corner him and go on and on about her, as if deeply moved. "You might call her alluring, or bewitching," he would say. "I've never known such a fascinating woman, she's a real vampire. When I saw her I thought I wouldn't mind dying at the hands of a woman like that!"

Since I have no particular reason to keep on living, sometimes I think I would be happier if a woman like Oden turned up to kill me. Rather than endure the pain of these half-dead arms and legs of mine, maybe I could get it over and at the same time see how it feels to be brutally murdered. #Quote by Junichiro Tanizaki

#14. That Seigo could go into geisha houses, accept luncheon invitations, drop in at the Club, see people off at Shimabashi, meet them at Yokohama, run out to Oiso to humor the elders - that he could put in his appearance at large gatherings from morning to evening without seeming either triumphant or dejected - this must be because he was thoroughly accustomed to this kind of life, thought Daisuke; it was probably like the jellyfish's floating in the sea and not finding it salty. #Quote by Soseki Natsume

#15. In early Meiji one yen was worth a little more than one American dollars; #Quote by George H. Kerr

#16. ...He said defensively, "But from now on, Japan is sure to develop."

"Japan's headed for a fall," the man said coolly.

Say a thing like that in Kumamoto and you'd get a punch in the nose, or be called a traitor. The atmosphere Sanshiro grew up in left no room in his head for such an idea. Just because he was young, was the man having some fun at his expense? The man kept on grinning. Yet his way of talking was perfectly composed. Not knowing what to think, Sanshiro held his tongue.

His companion went on, "Tokyo is bigger than Kumamoto. Japan is bigger than Tokyo. And what's bigger than Japan is..." He paused and looked at Sanshiro, who was listening intently. "...the inside of your head. That's bigger than Japan. Don't let yourself get bogged down. You may believe your way of thinking is for the good of the nation, but you could actually be bringing it down."

When he heard this, Sanshiro felt he had indeed left Kumamoto. And he realized, too, what a small person his Kumamoto self had been. #Quote by Natsume Sōseki

#17. 1. A Cup of Tea
Nan-in, a Japanese master during the Meiji era (1868-1912), recieved a university professor who came to inqure about Zen.
Nan-in served tea. He poured his visitor's cup full, and then kept on pouring.
The professor watched the overflow until he could no longer restrain himself. "It is overfull. No more will go in!"
"Like this cup," Nan-in said, "you are full of your own opinions and speculations. How can I show you Zen unless you first empty your up? #Quote by Nyogen Senzaki