The Three Cornered World is the novelistic expression of the contrast between the Western ethical view of reality and the Eastern ethical view by one of Japan's most beloved authors.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
A beautiful meditation on art and the artist,
This review is from: The Three Cornered World (Paperback)
This book is not just a wonderful introduction to the differences between Western and Eastern views of art. It is a lovely exploration of art in general -- the need for art, the demands made on an artist, and especially the place of artists and their work in the world.
9 of 11 people found the following review helpful:
5.0 out of 5 stars
Will the Artist Ever escape the Wheel of Existence? Sould He?,
This review is from: The Three-Cornered World (Peter Owen Modern Classics) (Paperback)
There are many themes examined in The Three Cornered world, the most predominant being the interior thoughts of the painter-poet on his vision quest. Much mush has been written of the Japanese poets' concern with nature, but here, for all its landscapes and mountains and moons and spring airs, we see what that nature poetry is truly all about. Nature in Soseki (For, among other things, Soseki is creating, not only a novel, but expressing a theory of aesthetics) is not an object apart from the artist (Who is different from most people) it is a sense object, and nature is not the thing, but the source of sensual awareness. Japan is a sensual country, and the Japanese are a sensual people. The Japanese, for all their supposed rigidity and formality, are deeply emotional and intense, and are the most avowedly aesthetic (Not rational, not formal, but artistic) culture that our species has produced. The Three Cornered World examines this theme of the artist in the world and connects this theme to a more general concept of the artist as a person aware of the world's artists--at least the asthetics of China and England--in a manner that suggests the importance and value and uncertainty of the life of the artist. While Soseki longs for a Buddhist escape from the "Real" world, at the same time, his artist is at his most absurd, even silly, when he acheives that escape from the real world. No matter what, the man is never more alive, more real, than when he is with the incredible O-Nami, and he is never more in the world than when thinking of her. As with many real Japanese women, no man worthy of living would fail to fall in love with her, as Soseki's protagonist certainly does. I did.
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