Zulkijind The Japanese is koudate ga kikinikuku naru — a pedantic difference but the English is quantitative, the Japanese qualitative. It was not just This is probably not the best novel to get started on Kawabata. So One sign of a master writer is the ability to match subject and style. In chess, there are only a handful of effective moves at any given time, and Deep Blue had the computational brawn to map out likely permutations before choosing the best one. Kitani used his mmaestro bad shape effectively.
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One game The yin-yang philosophies sprouting from the wooden bowls on to a 19 x 19 arena. The small stones carrying the burden of altering destinies. Kitano Minora. Abiding the culture of literary fiction, Kawabata confers fabricated identities to the players as well as to himself Mr. Uragami in this Two stones Uragami in this epic struggle that spans over the period of nearly six months.
It is not what might be called a game of moves, as chess and checkers The Black stone always taking the privilege of an opening move. The devious tap of the stone on the wooden grid echoes the hysteria of a transitional era. New laws and new tactical regulation overruled the aristocratic stubbornness by refined trickery. The strategic moves alternating the white and black stones delineated the struggle of aristocracy vs. An inhabitant of the Meiji Era, the Master finds himself standing on the edge of modernity that challenges traditional mores and progress in a strange world with cries for equality.
Uragami, in his reportage addresses the Japanese landscape that is suspended between the resistance of the old cultural mores and the democratic post- war revolution. The Master who was accustomed to conservative prerogatives struggled to rationalize the tactical moves of his young adversary Mr. Were the long recesses and the venue changes between the games, a defense from the fury of the Black stones? The Black stones were insensitive to the pleas of an aged clamshell stone.
The exhaustion of insomnia that ravaged the serenity during the four day long recesses was now curious about the loneliness that sprang from the nostalgia of a waning art. The frail Master with all his might hung on to the last threads of his invincibility. Is the birth of nostalgia, the loneliness of change more agonizing than physical death? Territory Go is fierce; it is a territorial game.
Uragami take this territorial battle further into the lives of the players and the existence of Go as a traditional art and as a embedded culture of a nation. The Game of Go that has its origins in China about 4ooo years ago is now an inhabitant of the Japanese culture. It has been explored and improvised by the Japanese societal mores for more than 12oo years to be an important artistic heritage of the Japanese cultural territory.
The threat of this game being captured by foreign territories becomes conspicuous when Mr. Uragami expresses his skepticism over whether a foreigner Dr. Does the mystery and the nobility of a game is diminished if played away from the land of its origin? Is a sovereign heritage greater than the art of the game? The Master became a citizen of a hallucinatory world where he achieved a winning immortality; a world where he believed he could not afford to lose.
The mentioning of the fact that the Master had not played the Black stones for more than 30 years; inferences can be drawn of a possibility of the White stones being the honored territory of a Master. Is then this illusionary territory that brings tragic consequence when the sanguine vagueness is marred by the loneliness of reality?
When does the player become larger than the game? When do the mores of cultural heritage become greater than its sovereign nation? Contiguity of Stones The continuity of the stones is established by placing them in row in a horizontal and vertical manner. Diagonally placed stones are vulnerable for a territorial captive attack. A lonely stone is unfavourable to the playing contestant. But he the Master was always lonely. Like an isolated stone that becomes less powerful, did the seclusion of his artistic prowess in the modern world made him defenseless?
Uragami contradicts the play of contiguity by illustrating a breakage brought by modernity in the world of Go and its players. In the play of black upon white and white upon black, the threat of forfeiture prevailed right from the personal feelings of the players to the fate of the game in the altered Japanese landscape.
Life and death of the stone A stone has a life and can be killed when entirely surrounded by the adversarial stone. In the war like game the stones and the players amalgamate into one whole existence. The game and its strategies follow the players until the game is over and even thereafter, as in the case of the Master.
For a Go player each free moment is a risk management session increasing the pressures of time and the deliberation over the future moves brings certain quirks and nervous addictions. The sanity of life is found in the madness of Go. Otake, the Master was bled by the game of Go. The shadows of Go followed the Master hovering into the vagueness of his existence. As a true artist sculpting the Go art, the Master resisted from judging the persona of the opponent as it perverted the sanctity of the game.
The Master calculated his every move even when he played a game of chess, billiards and mahjong. When the Master played his moves and the game consumed his life, at times making him lose the realization of his own identity.
Uragami who himself was an ardent fan of the Master, infers that there are two types of players: - one who are complacent with their game output and the other who meticulously enhance their art; the word satisfaction being a rarity in their game.
The Master belonged to the latter. The Master had become a tragic figure, a ghostlike existence. Is the art of the game that creates martyrs of its soldiers? The pleasure of the game brings seclusion from worldly exhilarations of life.
The unadulterated sleep of a child is far fetched blessing in the cursed insomniac world ridden by chaotic configurations. When does the harmonic monochromatic ballet of Go become a war of spirit and destiny? Is then life greater than a man or is the man greater than the life? Under the morbid tides of destiny the death of a stone. The game ends. Hope ends A new stone is astutely placed on an intersection. Once again, the game of Go begins , deciding a new destiny for its Master.
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