 団野 薫 |
| 団野 薫 |
| 《 Empathy and Independence/Autonomy 》 |
contents
Ⅰ Empathy
ⅰ） dictionary definitions and concepts
ⅱ） kanjoh innyuh / transfusion of feeling
--- tohsha / projection and
tohnyuh / introjection
ⅲ） itta-i kan / feeling of oneness
Ⅱ Jititsu / Independence and Ziritsu / Autonony
ⅰ） ison / dependence and dokuritsu / independence
ⅱ） kodoku / solitude and privacy
ⅲ） ta-iritsu / opposition
ⅳ) mature (-d ) Empathy
Ⅲ Appendices: Words and Phrases relevant to Empathy
ⅰ） kyohme-i / resonance
kyohs-i / co-living mono noaware / patos
ⅱ） dohjoh / sympathy dohkan / agreement
doh-i / approval dohchoh / conformity
ⅲ） ' wa shite, doh zezu ' / to harmonise, but not
to conform
' zeze fifi ' / judge impartially
' huwa ra-idoh ' / to follow easily
' yaji-uma ' / onlooker
' ugoh no shuh ' / the crowd
Young people nowadays, it seems, are subject to crdfiticism that their
interpersonal contacts are shallow or flat, transcient or frail, fragile or
weak like a dbubble ... This kind of thing is imagined to occur owing to
lack of kyohkan / empathy.
The manner they communicate shows such kindness as to be always
wondering, sensitively and delicately, if their conduct might hurt other
people, or, at times, in fear that they be hurt by them.
It should not be easily considered and determined as bad or wrong.
Rather, their manner appears to carry a kind of fashionable and sophisti-
cated.
Yet, we do observe those who are nervous, irritated, or flustrated with
the communicative attitude of the young generation; it certainly has a
point in what the older one worries about.
All this, it seems, is because something is lacking there.
' Something ' is kyohkan / empathy --- which I should like to suggest.
In the world of interpersonal relationships, kyohkan / empathy is assumed
to lie in the foundation of Ma, and to provide the very moment of the
latter's composition and development. Ma, without reliance on kyohkan /
empathy is vulnerable.
Ma in interpersonal relationships becomes matured only if it is based
on kyohkan / empathy.
In this connection, I must say that I have already touched Ma some-
where else ( on my previous paper : 《 Ma and interpersonal relation-
ships 》. So, here in this paper, allow me to consider / examine kyohkan /
empathy, and to attempt to clarify what it is.
To review;
taking up Ma in interperonal relationships, we struggled hard in making it
clear from several angles, particulary from those of the methods of
kokyuh / breath, iki zuka-i / breathing, and Ki kankaku / Ki sense as well.
( see my paper: 《 Kokyuh / breath (-ing ), Ki kankaku / Ki sense, and
Ma 》. Kokyuh and iki zuka-i are, just for comfirmation, are the impera-
tives of its composition and maintenance in interpersonal relationships.
Hopefully, let me hereafter treat kyohkan / empathy which would
contribute to a further exploration of Ma, and make an attempt to clarify
what kyohkan / empathy is.
I What is Kyoukan / Empathy ?
To begin with, I would like to grasp the meaning of kyohkan / empathy
by looking it up in the KOHJI-EN.*
_________________
* The KOHJI-EN is the well-known brand name
of Japanese language dictionary. It is installed
in my electric dictionary : SHARP Electric
Dictionary ( PW-AC 920 ; product number
OMO 14457 ).
_________________
Kyohkan is explained there as follows.
kyohkan
〔 ( the word translated into Japanese of sympathy )
to feel and understand the feelings other's experience,
their mental state, and/or opinions as totally the same as
others dohkan / to have the same feeling with others
「to feel ___ 」 「 to call forth ___ 」 kanjoh inyuh 〕*
________________
* English sentences in the bracket 〔 〕 are
all translated by me ( the writer of the resent
paper ). And, let me notice that here all the
following translation of the dictionary words and sentences made in the present paper, insofar
as bracketed by 〔 〕, are all mine.
________________
To further step to the International Encyclaepedia Britannica,* I could
not find kyohkan / empathy as the dentry word; instead, the related one,
kyohkan kohdoh was there.
___________________
* Installed in the SHARP Electric Dictionary
( op.cit. ) .
In this connection, allow me to tell that
all the dictionaries used in the present paper
are those which are installed in the above
mentioned electric dictionary.
__________________
kyohkan kohdoh
( sympathetic action; sympathetic behavior )*
〔It is that, on the negotiating scenes of interpersonal re-
lations, one shares itta-i kan ( feeling of oneness ) with-
the other ( party ) and, keeping thesame emotional state
with the other, behaves in a similar or identical way.
The degree of its demergence increases as negotiation
with the other, or through mediation of some symbols
common to both. Particularly the case that the crowed
is put in an emotional state of excitement, it bears the
attribute of kyohkan / empathetic behavior. 〕
________________
* Oviously, there is, it seems, a confusion
between empaty and sympathy. What
we seek for as kyohkan is here introduced
as, translated from the original term,
sympathy. The difference in the two con-
cepts will be more clarified later.
_________________
The explanations above quoted from the different dictionaries show
several features of kyohkan. They are:
a) the sameness of one's mental state ( such as feelings
thoughts, etc. ) as the other.
b) manifestation of the same / similar behavior
c) sharing itta-i kan / feedling of oneness with the other
d) media of symbol common to the parties concerned
e) increase of one's knowledge / understanding about the
other
In the connection,
before proceeding to consider / examine these features of kyohkan more
in detail, I would like to take up a suspicion which has arisen about the
very concept, kyohkan / empathy, in review of its explanations above
quated.
As you must have already been noticed in the KOHJI-EN at the head of the
explanation of kyohkan / empathy, it is cited as Japanese translation of
English word, ( sympaty ). And also cited the International Encyclopaedia
Britannica, kyohkan / empathy as ( sympathetic action ; sympatheitc
behavior ).
So, in order to clarify this situation, the term, sympathy, must be firstly
spotlighted.
To consult the Jenius English-Japanese Dictionary,
sympathy
〔【 the original meaning : to suffer ( path-y ) with ( sym )
cf. antipathy [ deriv.] → sympathetic ( adj. ) 】
❶ dohjoh / sympathy omiyari / considerateness
〔 for, wih, toward 〕 ( person and thing )
kuyami / consolation 《 not to imply disdain for
others cf. pity 》
* You have my sympathies.
* It is useless to play on my sympathy.
* Help them not out of pity but out of sym-
pathy for their plight.
--- ( partly quoted ) ---
❷ kyohkan kyohme-i /resonance ( to person;
opinion, etc. ) doh-i / agreement; siji / support;
si-en / backup ( for, with ) 〕
❸ ( omitted )
The meaning described and listed dfor sympathy are indeed diverse,
ranging from ' dohjoh, ' si-en,' but it is general and prevailing that
dohjoh is given to the Japanese translation ' sympathy ' so that we
might as well capture doh joh to mean sympathy in terms of English-
Japanese translation.
Yet, this type of dohjoh appears to have a gap or difference in meaning /
nuance to kyokan in our sense. As such, let us try to take a leap to the
mental phenomenon, or the term, kanjoh inyuh, which is pointed in the
KOHJI-EN with an arrow mark at the bottom of explanation of kyohkan.
To consult the KOHJI-EN,
kanjoh inyuh
〔 ( Einfülung German )
The fundamental principle of Lipps's psychological aes-
thetic. It means the attitude to project one's own feelings
into an object or other people, and perceive them as
belonging to the object itself. 〕
Then, to go on to the International Encyclopaedia Britannica,
kanjoh inyuh
[ empathy; Einfülung; objectivation de moi ]
〔It means the mental activity of the case in that when
grasping such human manifestations as other people's
gestures, expressions, or works of arts, and natural objects,
one transfuses one's inner feelings into the side of an object,
and experiences from them as belonging to the object itself.
It is this type of mental activity in which aesthetic kanjoh
inyuh is conducted in the purest and most perfect mode.
T. Lipps and J. Volket of Germany established empathic
aesthetic based on this concept. Volkelt stated that kan-
joh inyuh is classified by the difference of object to make
kanjoh inyuh into manifestations of the human is authebtic
one, and the case conducted to non-human forms is sym-
bolic one. 〕
To check the beginning part with the square bracket of the above explan-
ation of kanjoh inyuh in the International Encyclopaedia Britannica, it
becomes clear that its original corresponds to empathy.
So, again to return to the English-Japanese Dictionary,
empathy
〔 ( psy.) kanjoh inyuh kyohkan kyohkanteki
understanding; ( lin.) siten / viewpoint
* empathy for the novel's main character
* in empathy with ... 〕
As it appears too simple an explanation, so to understand the very word,
empathy, it would be better to go further to the Oxford Modern English-
English Dictionary,
empathy
the ability to understand another person's feelings,
experience, etc.
( sample sentences )
* the writer's imaginative empathy with his subject
* empathy for other people's situation
Kyokan, through the KOHJI-EN and the International Encyclopaedia
Britannica, departs from sympathy / dohjoh, and, given as a Jananese
translation of kanjoh inyuh, arrives at empathy. To put it another way,
kyohkan would be understandable in the sense that it be synonyously
on the same line as kanjoh inyuh and empathy .
However, here in the paper, I would like to assume and to propose
kyohkan as a Japanese-translation counterpart of empathy; this assump-
tion would be clarifed in due course.
For the present moment, please bear in mind the point that kyohkan is
assumed to correspond to empathy, or, more concisely, kyohkan as em-
pathy.
At this point, allow me to say a word to Japanese translation of this con-
cept. Empathy is translated into Japanese as either kyohkan or kanjoh
inyuh and, moreover, sympathy also as kyohkan. It is certainly very con-
fusing and perplexing.
So, in order to clarify this peculiar situation, I made an attempt at a new
translation --- this is quite personal and arbitrary, though --- to kanjoh
inyuh : it is transfusion of feeling / feeling-transfusion,* which is a literal
translation into English of Japanese translation of the German concept,
Einfülung.
__________________
* Allow me to remind you of the upp erof explana-
tion of kanjoh inyuh. There, translate kanjoh inyuh
as 「 ... one transfuses one's inner feelings into
the object ... 」,which could be abbreviated to be
' transfusion of feeling, ' or ' feeling translation.'
______________________
Now, empathy is explained by the Oxford Modern Englissh-English Dictio-
nary as 「 the ability to understand another person's feelings, experience,
etc.」
What is ' understanding, ' then ?
The English word, ' understanding ' is translated in Japanese as rika-i.
To refer to the KOHJI-EN,
rika-i
〔➀ to realize and see the reason of things to grasp mean-
ing to comprehend things ryohka-i / interpretation
( Verstehen )
「___ the meaning of a sentence 」
➁ to know dwell another person 's feeling and stand
point 「 ___ ing teacher 」 「 to ask for ___ of
people concerned 」
➂ ( phil.) ⇨ the same as ryohka-i ➁ 〕
Furthermore, to proceed to the Genius Japanese-English Dictionary, and
to partly quote ;
rika-i
understanding
〔 to understand 《 formal 》 kenka-i / view ka-ishaku /
interpeneration 〕
comprehension
《 formal 》 understnd (-ability )
〔 understanding is applied to understand many things
such as words, feelings, culture, etc. and so is broadly
used. Comprehension is for understanding of mainly
words spoken and written. 〕
grasp
perception
idea
knowledge
Under the Jenius English-Japanese Dictionary, the ' understanding '
is explained as follows ( --- partly quated ):
understanding
〔 ❶ ( to ) understand ; (personal ) view interpretation
* She has a clear understanding of the theory.
* That's not my understanding.
( Other sentences are omitted. )
❷ rika-i ryoku / understandability chise-i / intelli-
gence omo-iyari / considerateness
❸ a) goh-i / agreement ( concerning ... /
to do ... ) sohgo rika-i / mutual understand
( about; on / to do )
b) ( informal / personal ) treaty ; ( anmoku no /
tacit ) ryohka-i / understanding items ( with,
between )
* I have an understanding with him that I can
use his car once a week. 〕
To take a step to ' understanding ' as ' adjective ';
understanding
〔 to be comprehensible, discreet ( of ... )
to have rika-i / understanding omoiyari / consider-
ateness dohjoh shin / ( sympathetic ) [ about, of ]
* an understanding reply
* You 're so understanding.
* Your soft spot is that you are too understanding.
To review the above explanations about ' understanding,' it contains
roughly two kinds of meaning.
The first one is, as cited in the KOHJI-EN, 〔 to realize and see the reason
of things 〕 --- this indicates us no discernment and recognition of kyo-
kan / empathy, that is to say, it apparently steps out of the present con-
cern.
Attention, then, must be paid to the second kind: 〔 to know well another
person's feelings and standpoint 〕. To put this phrase in a single term,
it is omo-i yari.
What is omo-i yari ?
To look it up in the KOHJI-EN, and to partly quote its meaning ;
omo-i yari
〔 ➀ to be considerate imagination
➁ to be aware of shiryo / thoughtfulness
The mind sby which, contrasting oneself with the
other person, to think of the other in trying to under-
stand the other's feelings and standpoint.
「 a person who has ___ 」
The third choice ⓷ of the above explanation of omo-iyari implies 〔 con-
trasting oneself with the other person 〕. The word, ' contrast ' does not
seem to indicate ' compare,' or ' compete.' That is to say, from the third
choice they should be excluded.
Putting this point in mind, let us re-capture the explanation above made
about omo-iyari. It means concludingly that, thinking of, or taking into
consideration of, the other's feelings, viewpoint, etc., one gets a close
contact with the other --- close, or ' heart-to-heart.'
From this mental process, it must be primarily stressed that one takes
into oneself the other's mind.
And, omo-i yari, is assumed to be the attitude of considerateness / con-
sideration and thoughtfulness. In short, it could be put omo-iyari / con-
siderateness.
In this connection,
let us remember that English word, 「putting oneself in sub's shoes. 」
To retrieve the Oxford Modern English-English Dictionary, it appears under
the entry word, ' shoe.'
shoe
--- The formal explanation of the meaning of 'shoe'
is omitted by the present writer, arbitrarily ;
only the idioms related to here are quoted. ---
IDM
be in sub's shoes | put yourself in sub's shoes
to be in, or imagine that you are in, another person's
situation, especially when it is an unpleasant or diff-
cult one.
* I would'nt like to be in our shoes when they find
out about it.
「To put onself in sb's shoes 」 is recognized as a colloquial expression of
of omo-iyari / considerateness, and, at the same time, it constitutes the
essence of the mental phenomenon / process. In addition with it, rika-i /
understanding is assumed as nothing but the heart of omo-iyari.
By the way;
In the course of reviewing kyohkan, Japanese translation of empathy,
I dropped off kanjoh inyuh / feeling-transfusion from there. However,
in order to know the ' what ' of empathy, I would not be able to put it
out of consideration.
On the contrary, examination about kanjoh inyuh is assumed to be a
most effective means by dwhich to make apparent the attributes of kyoh-
kan: It is one of the main imperative to characterize kyohkan.
In order to clarify the above assumption, let us, once more, return to
kanjoh inyuh, and try to re-exmine it.
Kanjoh inyuh / feeling-transfusion is must be noticed to be grasped as
the mental phenomenon / process that one projecs one's mind (/ feel-
ings, thoughts, etc. ) to the object ( another person ), taking them as
belonging to objec ( another person ) itself.
This type of process, tohsha / projection, to which must be paid special
attention, shows, as it were, a boomerang-like effects --- that is, return
to oneself one's feelings, thoughts, etc. once thrown by one to the object.
Tohsha / projection, in its extreme case, would make it possible to fur-
nish a colorification / embroidery on the object, which differs or departs
from, or transcend, the original as it is, or as it appears.
For example:
≴ a violet ... ≵
' Oh! here you are ... '
The violet was there alone, obscruely, --- not behind the
rock in a remote valley, but at a small crakc of the pavement
where cars run along, roaring and exhauting dioxide gas.
It was blooming with lovely little butterfly-shaped petals.
' How hard it must be to live in such a place like this.! '
I was much impressed by the way she, the violet, lives
through --- bravely, and with all her might, and felt
very sympathetic, not a dpity, with her.
My sympathy with her was kanjoh inyuh, that of tohsha /
projection, that is, the boomerang-like dreturn dtype, for it
is just that I myself only saw the figure of the violet as
standing still and alone aside the pavement. It means that
I was impressed with the scenario / story of the violet
created in my imagination.
On the side of the violet, she might have made a cool, or
cold response.
' I just happened to bud here, and know that it was at the
crack of the pavement. It cannot be helped. I had no
alternative choice. So I bloom here. '
Still, this ( murmur of the violet ) is nothing but my
personal composition, or fiction. It would be classified as
of the tohsha / protective type.
Returning to the everyday world of international relationships, one who
who is good-natured is much inclined to feel people around one as one
is ( also good-natured ), despite the fact it is actually not the case. This
kind of thing does occur: it occurs as a result that one throws one's own
inclination / state of mind on the object, or another person, and senses /
accepts it as the attribute of the object ( / another person).
Kyohkan / empathy, on the other hand, is recognized to carry the mental
phenpmenon which differ from, or, rather, stands in contrary to kanjoh
inyuh / feeling-transfusion of the boomerang-like tohsha / projective type.
It is, according to the KOHJI-EN, to mean that 「 one feels totally as the
same as ( the mental state of another person ) 」 ... as quoted previ-
ously.
To freely translate and to arbitrarily interpret this explanation of kanjho
inyuh / feeling-transfusion, I would possibly grasp that one accepts the
existence of the object as it is there, or as it appears, dand immediately
take in, or introject it into oneself, or one's mind.
That is to say, the mental phenomenon, smpathy, not only means thatd
one projects one's feelings, dthoughts, etc. to the object ( /another per-
son ), but that one takes in, or introjects object, its existence and appear-
ance, without media, or immediately, to oneself.
Here is an episode of kyohkan / empathy of tohnyuh / introjective type.
≴ the vase in picture ≵
" How marvelous this vase is ! "
I murmured bfdore one of the pictures exhibited at a certain
gallery where I happened to drop in.
" The vase in the picture ," said the lady owner of the
gallery, " is the work of the well-known ceramist."
I was much impressed; my impression tells that I im-
mediately received the vase as it was there, and the paint-
er, likewise, much touched and inspired by the grace of the
vase in its sheer appearance, must have made a painting
of it.
All this means that it is quite unnecessary to make, em-
broider, or fabricate, ' a story ' on the vase.
It is apparently sufficient for one to immediately take object
into oneself as it is there, or as it appears before one, and
sense / appreciate it.
Of this case, for the painter and for me as well, kanjoh inyuh of tohyuh /
introjective type, it is recognizable, was at work.
To consider this way, it could be also assumed that from kanjoh inyuh /
transfusion of feeling is stripped off the process of tohsha / projection, and
alternatively, put tohnyuh / introjection in that place.
One more episode is here:
≴ a photography artist ≵
" You must fall in love with the object (of photograph )."
To say ' fall in love ' means in no sense ' love in the opposite
sex' which we find here and there as ordinary affairs nor that
of passionate one played in melodrama as we see on TV
screen.
It must be something much more profound and fundamen-
al in the mind. We might well conceive it as the passive type
of introjection ( of kanjoh inyuh / feeling-transfusion )。
It is, then, the activity of photograghing by which to sense,
accept and take into oneself (= the photographer's mind )
the sheer figure ( existence / appearance ) of object and
its background and environment, and to put it on photo-
graphic paper, so producing a superb piece of fine art.
We have, accordingly, two constrasting types of kanjoh inyuh / trans-
fusion of feeling.
One is active tohsha / projection, and another, passive tohnyuh / intro-
jection --- if I might as well so name each.
To review again, the active tohsha / projection of kanjoh inyuh / feeling-
transfusion is the generally-conceived one,and possesses a ' boomerang-
like ' return effect on the one projecting. The projecting one actively
works on, i.e., transfuses one's feelings into, and becomes identical with,
the object ( / person ) projected.
' Identical ' --- to be sure, means more precisely to be as the same as
the same as, or as similar to, the object ( of projection ).
A word of caution with this type of kanjoh inyuh / feeling/transfusion
--- i.e., tohsha / projecion: there would possibly be apprehension of
danger that may invite non-original screnario or embellishment ; self-
satisfying ideas, imagination, fantasy or illusion ; embroider, fabrication,
fiction, or make-up, etc. --- all of them made and fixed on the object
( of projection ).
There, then, would occur a difference from the original form, that is,
object iself as it is there / as it appears, which may seriously affect on
subject-object relation, and, it is, eentually, easily presumable to give
and keep a considerable distance away from the process of kyohkan /
empathy.
On the other hand, concerning kanjoh inyuh / feeling-transfusion of the
passive type, or passive tohsha / introjection, one controls one's own
feelings and thoights, or suspends for a period of time one's subjective
activities, so putting oneself in a mental state of ' blankness.' By this
passive way, one senses / accepts the other one's feelings and thoughts
as they are, or as they appear, and take them into one's susjective side,
i.e., mind. It is one's tohsha / introjection of what the other feels and
thinks.
For example, the case of mora-i naki / cry in dsympathy.
Mora-i naki is described in the KOHJI-EN as:
mora-i naki
〔 to cry sympathetically, evoked to join in another person's
cry
「 omo wasu --- 」 / 「 --- unconsciously 」 〕
When one sees and hears of another person's talk about sad experiences,
one finds oneself unconsciously crying in sympathy with the other.
At this moment, one takes into oneself the other's feeling ( sorrow ),
and feel it as one's own ; yet one has originarily has no feeling of sorrow
in oneself; that is, one is in a neutral or blank state.
Nevertheless, despite this reality, one experiencees the same sad feel-
ing as another person does, taking / transfusing it into oneself ---
i.e., passively.
This passive type of kanjoh inyuh, or passive feeling-transfusion is, it
could be said, recognizable in appreciaion of fine art.
As for art appreiation, aesthetic psychlogy and theory of aesthetic
Einfülung are introduced and described in both the International Ency-
clopaedia Britannica and the KOHJI-EN which, to my understanfing,
represent the active type of kanjoh inyuh / feeling-transfusion counted
on as another effective method of appreciation.
When a piece of fine art, for example, a picture, one, instead of throwing
on the picture from one's side what comes up in one's own mind, but
senses / accepts immediately something that appears on the side of
experiences some people seem to have at times in appreciating works of
fine art.
So, as a conclusion, we might as well say that, insofar as art appreciation
is concerned, there is no need of ' either － or ' --- i.e., kanjoh inyuh /
feeling-transfusion of active tohsha / projection, or passive tohnyuh /
introjection.
It does not matter as to which prefers to which.
One may or can adopt either way, depending on the situation of both
object and its appreciator's mental / emotional state; as the case may be.
Let me sketch one more episode, here, the one taken up in my previous
paper.
≴ Le dejeune sur l'here / The lunch on the grass ≵
--- by Edouard Monet
Napoléon III, took a glance at the painting and shouted in
a fury, 'It 's just inexcusable! '
The ' inexcusable ' picture was that which was painted a
young lady without dress after bathing, sitting on the grass
having a lunch with dressed gentlemen.
The Emperor's fury seems to have come from kanjoh inyuh
of passive introjection type. He, the Third, caught with his
eyes the figure as it appears ( as the young lady did so in
her birthday ) immediately sensed, and introjected into him-
self --- which aroused in him a sense of shame and embar-
rassment, and drove him to fury.
Time has passed.
A funny story I once read in a book ...
A little boy, before the particular picture of E. Manet, watch-
ing it for a moment, shouted:
" Mamma, on a picnic, someone forgets something every-
time! "
Certainly, the young lady in the picture looks to have for-
gotten to bear, or wear 'something ' ( her dress ).
The little boy's exclamation is passive projection of kanjoh
inyuh / transfusion of feeling. He imagined and made up the
story of a picnic, and ' lost thing, ' and tramsmitted to him-
self, he was much impressed in his way.
In neither of the episodes above sketched, kyohkan / empathy is assumed
to be working. With this assumption, we must see to it that itta-i kan /
feeling of ( between the picture and its appreciator ) is lacking.
What is itta-i kan, then ?
Before proceeding to specification of this mental phenomenon, allow me
to touch a little on tsu-i ta-iken / experience of reliving, because it seems
to have some sort of relevance to kanjoh inyuh / feeling-transfusion.
To retrieve the term from the KOHJI-EN,
tsu-i ta-iken
( Nach erleven German )
〔 It is that tracing after another person's experience,
one feels and catches it as if were one's own. 〕
Looking up in the Japanese-English Dictionary,
tsu-i ta-i ken
relive
〔 to experience again ( past times, past experiences, etc. )
to re-experinece ( by imagination ) 〕
Furrher, to examine the Oxford Modern English-English Dictionary,
relive
to experience sth again, especially in your imagination
* He relives the horror of the crash every night in
his dreams.
Tsu-i ta-i ken / experience of reliving is, we can safely assume, differenti-
ated into two kinds: in-personal and inter-personal.
The former is the phenomenon in which one awakens memory of one's
past sexperiences, following again, or recapturing them into oneself ---
that is, in-personally.
For example, to reminisce about the happy, old days of childhood, and
evoke / relive them in one's own imagination; it is to trace again the past
and reproduce / re-experience them. This kind of reliving experience is
not categorized under the concept, kanjoh inyuh / transfusion of feeling.
Tsu-i ta-iken of, particulary, passive type requires the presense of
another person as object ( of re-experience ) --- in this sense, it is
inter-personal.
One in imagining the other's xperience, not one's own, traces after it,
and reproduces / replays it on one's own experience.
Then, one sees, feels, or thinks as the other sees, feels, or thinks.
By and through this type of tsu-i ta-iken / experience of reliving, one
takes the other's mental state into one's inside, so that it be recognized
as kanjoh inyuh / feeling-traansfusion of passive type.
So much for consideration on tsu-i ta-iken.
And I would like to stop hanging around it any more.
Now, let us return to our present concern of kyohkan /empathy about
its concept and translation, and proceed to review all over again what
we have so far acquired of the particular concept, it is assumed as synon-
ymous, insofar as Japanese translation is concerned, with kanjoh inyuh /
feel-transfusion.
This phenomenon / process is further classified into two constrasting
types: nohdohteki tosha / active projection and judohteki tohsha / passive
introjection.
The former type is the process by which one casts on object ( the other )
one's mental state, and senses / accepts it as belonging to it. The latter,
it is assumed, is that by which to sense immediately and take in, object
as it is there, or as it appears ( it's sheer existence / appearance ).
And what is most important to notice is that, in the empathic context,
there underlies rika-i / understanding and omo-i yari / considerateness
--- which is short, to stand on the other's viewpoint, or, ' to put one-
self in the other's shoes.
In this connection, yet, kyohkan / empathy and kanjoh inyuh / feeling-
transfusion, at least in relevance to the translational conception of kyoh-
kan, it seems, is lacking clarity which continually gives a feel that they
both carry ambiguity in translation and terminology.
Thus, let us once more re-examine the concept of kyohkan / emathy
and make an attempt to find out, and arrive at a more appropriate under-
standing for it.
As quoted already, dohjoh / sympathy is explained as a Japanese trans-
lation of kyokan / empathy at the beginning of its explanation in the KOHJI-
EN.
Similarly, in the International Encyclopaedia Britannica, kyohkan kohdoh
is interpreted as sympathetic action; sympathetic behavior. Nevertheless,
at the end of explanation of kyohkan, kanjoh inyuh is added, which ob-
viously indicates khyokan as empathy.
Meanwhile, the KOHJI-EN introduces the original word of kanjou inyuh /
transfusion of feeling to be 'Einfülung.'
According to the International Encyclopaedia Britannica, then, the terms /
meanings related to kanjoh inyuh are put in order of --- empathy ;
Einfülung ; and objectivation de moi.
And, along with this order, it would be noticed that empathy is the first
to come. Furthermore, with the entry word of kyohkan, there linked are
kanjoh inyuh, kyohkan, and empathetic understanding.
Thus, kyokan, first of all, a translation of sympathy, and its original
term is referred to Einfülung ; while empathy in English terminology
can be associated with an order of < kyokan --- kanjoh inyuh ---
<div> </div> Einfülung --- empathy >; it seems possible to assume and abbreviate
kyohkan as empathy, excluding kanjoh inyuh and its original counterpart,
Einfülung.
Generally speaking, in the ordinary world of everyday life, kyokan in
Japanese translation of empathy seems to get more familiar and used to
than kanjoh inyuh. And, based one the results attained by stepping into
examination of kanjoh inyuh, wed came to a conclusion that it could be
translated as kyokan = empathy as such.
I once had a chance to enjoy seeing an old movie of roman-
tic story replayed on TV screen. It was:
< Funny Face> (Paramount Movies, CO., 1957 ) starring
by Audry Hepburn.
It was only a few scenes I could remember which helplessly
made me wonder if I really saw this movie then.
' I think I did ..... '
Astonished by my ' loss of memory' certainly, though, but
what amazed me more was that in Audory Hepburn's con-
versations with her lover ( co-player ), there frequently ap-
pears the concept, empathy.
And, even, the term, which was quite unfamiliar word to
my ears, ' empathist ' popped in. Moreover, the story of
the movie itself got developed afound this particular con-
cept of empathy, and held a party of empathists, with
a religious-cult-like atmosphere.
I then recognized afresh that in late 1950's the mental
phenomenon, empathy caught and fascinated the mind
of some certain American people.
At the bottom of screen, kyohkan in Japanese is caption-
ed ( super-imposed ) for empathy, and kyohkan shugisha /
empathist. Not a word of kanjoh inyuh in Japanese trans-
lation was there.
Kanjoh inyuh is, it appears, settled down as psychological / psychiatric
concept, sympathy aquired citizenship as dohjoh as the word translated
into Japanese from English.
Hence, in the present paper, allow me to treat, as alreadly have done so,
as kyohkan = empathy, and proceed my consideration of kyohkan.
Kyohkan, a Japanese translation of the German word, Einfülung, not
known why, though, seems very fitting for the heart or sentiment of Japan-
ese people, so it may not too much to say that it is a very appreciate
translation.
However, the prefix of empathy, ' em ' refers to ' en, or sometimes, in '
which indicates that we cannot scoop directly from the meanding of
' kyoh.'
Hence, let us for a while examine this prefix, ' kyoh, ' which have been
so far left unquestioned.
' Kyoh ' is, according to the KOHJI-EN, explained as ' tomo.'
tomo
〔 ➀ to be together with simultaneous identical
( Sample sentences are omitted. )
➁ ( accompanied by other nouns )
㋐ all 「 do not know the two ___ 」
㋑ used to mean to include ___ 「 posetage ___ ed ｝
In addition to check the related phrases, ' tomo ni ' and ' issho':
tomo ni
〔 ➀ to become one issho ni / to get together to go
hand-in-hand
➁ at the same time 〕
issho ni
〔 ( used to mean to put together )
➀ undiscreiminated identical
➁ to behave together to accompany to go together
to be with
➂ to have the same time simultaneity 〕
Further, under the Japanese-English Dictionary, it follows as:
tomo ni
〔➀ 「 to be with 」
together
to be with to cooperative ( ⇔ singly )
with
「 accompay 」 together with ... along with ... ;
within the house ( of a person )
together with O
along with O
both
➁ 「 simultaneous 」
with
「 the same time / degree 」 the same as ... with ...
remain
to be 「 with, to 」 ( person )
share
to share ( or with person ) to have with to join 「 in /
with 」 〕
With regards to the meanings / seeabove quoted, we could see the sig-
nificance of ' ｔomo ni ' contain identity and symaltaneity, and, what is
more, the point worthy to note is : it also implies ' issho ' which is English
synonym of ' together / with.'
That is to say, we can understand that kyohkan means nothing ' being
together with ( someone, or some people ).'
To add a word in this context;
Recently in Japan, the phrase, 'tomo ni,' is felt by people very close,
familiar to them, together with ' issho ni ' --- both carry / connote the
meaning of ' being ftogether with ' --- and, hence, kyohkan is particular-
ly likely to be used by Japanese people.
By the way;
Identity and simultaneity of ' tomo ni, ' it could be assumed, to be one of
the primary components of kyohkan, and intimately related to 'sym,' the
prefix of sympathy / dohjoh. In this sense, Japanese translation of sym-
pathy into dohjoh seems to be an excellent work. And, moreover, sym-
pathy I mostly undeerstand as equal to dohjoh, and in the ordinary ( En-
lish-Japanese one ), the latter is listed at the beginning of the former's
explanation.
Nevertheless, alow me to make a little proposal, here.
It is that: for kyohkan / empathy I would like to suggest the term: co-
pathy --- this is a personal coinage made by myself, is possibly assumed
as more proper to kyohkan for the following reasons.
To look up the prefix, ' co- ' in the English-Japanese Dictionary;
co-
〔 kyohdoh / common kyohtsuh / common sohgo /
mutual doh te-ido / equal
* co-author / co-edukcation / co-operative / co-hier
To further go to the Oxford English-English Dictionary, it follows as:
co-
prefix ( used in adjective, adverbs, nouns and verbs ) to-
gether with
* co-produced
* cooperatively
* co-author
* co-exist
To take a glance at, and make an examination to the above dquoted ' co '
and its applied phrases, ' co ' apparently seems to be expressed / signified
as 'kyoh ' as its Japanese counterpart.
Consequently, it would be, in a sense, to assume kyohkan as co-pathy,
not empathy which, to literally understan, means in-(/ into-)pathy.
And, this is what I might dare make a proposal for.
But, alasforme, I haveneither bravery nor courage to take liberty to adopt-
ing my coined term, co-pathy, in the place of empathy even for my own
paper alone, so I would like to proceed it, complying the traditional and
prevailing usage of the concept i.e., empathy.
Now, let us go back to the main concern of the present paper:
At the beginning of the first section, I, in order to ask for ' what kyohkan
is ? ' consulted several dictionaries, and, reffering to the explanations I
scooped therefrom, made an attempt to clarify the nature / meaning of
kyohkan. I, then, as a result arrived at < itta-i kan > --- This mental
process is, needless to say, one of the main features / components of
kyohkan.
So, I would like to make a consideration into this itta-i kan, for a while.
For it, I think I must to return, it may be back to the review of kanjoh
inyuh, although it might be something annoying.
The original counterpart of kanjoh inyuh is as are already mentioned and
examined German word, Einfülung. ' Ein ' means ' one,' and, in the pres-
ent context, means to become ' one ' or ' oneness ' ( with other people ).
'Fülung ' could be assumed as ' feeling. ' Put together, it is then com-
posed as ' one feeling, ' or ' feeling of oneness,' to which itta-i kan possibly
be applied.
' What is itta-i kan, then? ' --- to once more ask.
According to the KOHJI-EN, ' itta-i ' of ' itta-i kan ' is explained as follows:
itta-i
〔【 one body 】
➀ hitotsu no karada / one body doh-itsu ta-i / the same
body
➁ to become in a relationship of one ( / oneness ), and so
is unseparable 「a family works, in ___ . 」 「 conzen
___ 」/ in harmony and one 「 ___ ka 」 / to become one
( the following omitted )
' Itta-i ' is regarded broadly as meaning ' to become one,' which, in my
free interpretation --- if it is permitted --- implies ' doh-itsu se-i,'
or identity.
Identity, according to the Jenius Emglish-Japanese Dictionary,
identity
〔 1 reason d'etre evidence of existence
2 ( omitted )
3 doh-itsu de aru koto / to be the same with / as ...
ru-iji siteiru / to be similar to itta-i sei / one-ness;
identicalness
4 ( omitted )
5 ( omitted )
To further proceed to the Oxford English-English Dictionary,
identity
1 ( abbr. ID ) who or what sb / sth is
* The police ae trying to discover the identity of the
killer.
( other sample sentences omitted )
2 the characteristics, feelings, or beliefs that distinguish
people from others
* a sense of national / cultural / personal / group
identity
3 ~ ( with sb / sth ) | ~ ( between A and B )
the state or feeling of being similar to and able to under-
stand sb / sth
* an identity of interests
* There is a close identity between fans and their
team.
To compare and check the meaings / explanations of identity above qu-
oted against the itta-i --- as it is most concerned at present --- the
third choice of the former ( identity ) , it is assumed, is most applicable
for the latter ( itta-i ).
There seems to be equivalently and synonymously a linkage of doh-itsu
se-i / identity, dohji se-i / similarity, dohru-i se-i / alikeness, and itta-i
se-i / oneness.
Thus, to put it another way, itta-i could be signified as doh-itsu se-i,
and dohji se-i / similarity, yet it does not mean identical-ness, for exam-
ple, like identical twins, or a perfect coincidence; rather, identical in the
sense of dohru-i sei or likeness.
Here, allow me to go back again again to the KOHJI-EN for explanation
of kyohkan, it reads:
kyohkan
to feel and understand the feelings others exerience,
their mental state, and/or opinions as totally the same
as others
The phrase, ' the same,' to our understanding, could be assumed to
imply ' alike ' or ' alikeness. ' Incidentally, ' totally ' does not seem to
mean a ' perfect coincidence ,' but, just an adverb to stress the ' same
... ,' or ' alikeness. '
Feel and think as (/ like ) another person feels and thinks --- this kind of
phenomenon of alikeness, or else, similarity consititues, certainly, the
primary components of itta-i / oneness.
Consequently, itta-i / oneness connotes dohji se-i / similarity and doh
ru-i se-i / alikeness and, further, as already mentioned, implies yuhgoh /
fusion.
To turn, then, to the KOHJI-EN, yuhgou is dexplained as:
yuhgoh
〔➀ tokete, hitotsu ni naru / to melt, and become one
to tokasite, hitotsu ni naru / to thaw and become one
「 Feelings of two people ___ .」
➁ ( omitted )
The Oxford Modern English-English explains fusion:
fusion
1 the process or result of jointing two or more things to-
gether to form one.
* the fusion of copper and sic to produce brass
* The moviecdisplayed a perfect fusion of image
and sound.
To pay attention to the phrase related to yuhgoh, ' toke a-u':
toke a-u
〔 1 that a distance which has separated each other is
thawed out to dissolve each other 「 minds ___」
2 ( omitted )
To summerize the above quoted the meanings / explanations of yuhgoh /
fusion and toke a-u, / thawing out each other, yuhgoh / fusion is assumed
to mean that two things, whose distance separated them, are melt ( /
thawed ), and become one.
To translated this kind of state to interpersonal relationships, the distance
between one ( person ) and another ( person ) --- i. e., self and other,
are melt to become one.
In a word, it is yuhgoh / fusion of self and other, or self-other yuhgoh /
fusion, with the result of realising itta-i se-i (/ becoming one ). Itt-i se-i /
oneness, then, the mental fusion of mind (s) of self and other ; it is ex-
pressed by the Japanese phrase, ' kokoro no yuhgoh.'
In this connection,
it seems better to make a remark on the word, itta-i se-i.
Itta-i se-i means literally one-bodyness, or bodily one. So, it seems more
appropriate to express as isshi se-i / one-mindness, because itta-i se-i
concrens the memtal state of oneness, as we have so considered / ex-
amined.
Yet, we must see to it that the ' body ' of the present sense, i.e., itta-i
se-i, does not indicate concrete, actual human body ; it corresponds as
the KOHJI-EN explains, to katachi / form, and ke-i ta-i / mode.
That is to say, itta-i ( se-i ) as ' one-body ' could be permissibly interpret-
ted to be flatly ' one-form / mode. '
To change our angle to the human or interpersonal level, yuhgoh / fusion
is assumed of two types : physical and mental.
Conerning the physical body, if you have one ( body ) to another one
( body ) you get two ( bodies ):
Is' 1 ( one ) + 1 ( one ) = 2 ( two bodies )
Meanwhile, when it comes to the mental case, it goes as this:
1 (mind ) + 1 ( mind ) = 1 (mind )
It is so, simply because yuhgoh / fusion of mind occurs, we could so
assume. Each mind gets combined with other one, or ' join together to
form 1 ( one ), which tells the arrival of the state by which to become
one --- that is, hitotsu ni naru.
Now, allow me to make an attempt to examine more in detail this mental
process, hitotsu ni naru, since this is another way to approach and analyze
the indispensable component of itta-i se-i / oneness.
What is it meant by hitotsu ?
To refer to the KOHJI-EN afresh ( with most sample sentences omitted ),
hitotsu
〔❶ one / as numeral hitotsu / one
( the following explanation omitted )
❷ to represent a grasp of things as a whole / hitotsu to
site
➀ more than two things join together so that it is
unable to distinguish them
➁ all / subete whole 「 the whole of ... 」 / zenta-i
➂ to be the same 「 to live under the ___ roof 」/
➃ to do together with 「 to sleep 」 〕
Among the meanings of hitotsu above quoted, it is discernible, the
second choice of meaning explains it most well.
What about ' naru ' of hitotsu ni naru, then ?
naru
〔 As a phenomenon or thing changes naturally in its course,
it shows a complete figure of itself.
❶ where there is nothing, there appears forming a new
figure
➀ An animal or a plant comes out ( / grows ).
to be botn
➁ Grass and tree bear fruit. to ripe
➂ ( omitted )
❷ to change into another different thing or state
➀ to change different from the previous state /
content
➁ to arrive at a certain state
( the followong ➂～➅ omitted )
❸ to be completed as a result ov action (behavior )
➀ to accomplish to finish
➁ to build up to establish
➂ Dream comes true. to succeed
( ➃～➄ omitted )
To consider, from the present concern, exclusively ❷ and ❸ of the above
quoted meanings attributed to na ru, it would be admissible that this 'naru'
of hitotsu ni naru , i.e., ' naru, ' = to become, consists of change and com-
pletion.
Naru as meaning ' grow ' would be, also, admissible , insofar as we as-
sume that it grows out of mental fusion, but when checke strictly the sig-
nificance of the very word ( naru ) gives a feel, and nuance as well, to step
outside of our concern.
Hence, we arrived at an understanding that hitotsu ni naru means se-i
itsu se-i / becoming-one --- this is again my personal coinage, though
--- at present, for specification of what na ru is.
Next;
It is acquied, as a concluding result, an understanding that yuhgoh / fusion
assumes se-i itsu se-i / to become one or becoming oneness. But, there
is a question we must ask for ; it is the matter of kokoro.
Why kokoro ?
It is because yuhgoh / fusion, it may be needless to point it here, is re-
cognized a mental fusion, or fusion of mind of persons related.
' Mental ' or ' mind ' roughly corresponds to kokoro in Japanese.
What is kokoro meant by, then?
According to the KOJHJI-EN,
kokoro
〔❶ the source of human mental function or function
〔 itself 〕
➀ the totally of knowledge, feeling, and intention
something which constrasts to body
➁ discretion speculation
➂ feeling attitude
➃ consideration compassion
➄ taste to sense aesthetic atmosphere / flavor
➅ desire ambition
➆ special thought betroyal unpleasent feeling
❷ ( omitted )
❸ ➀ sinzoh / heart chest breast
➁ the center of things
The meanings / explanations of the above quoted of kokoro are too ex-
tensive, so, in exploring more concise ones, I have reached the entry
word, ' heart ' in English which corresponds to kokoro in Japanese.
To consult the English-Japanese Dictionary,
heart
〔 ❶ sinzoh / heart ; 《 lit. 》 breast 《 exotic adjective
cardiac 》
❷ a) kokoro ( where emotions such as ki do a-i raku /
joy, anger, sorrow, and happiness inhabit ) 《 Kokoro
is mind where intelligence and rationality inhabit,
kokoro where tamashi-i inhabits is soul 》, kanjoh /
emotion, kimochi / feeling, se-i sin / spirit ; tamashi-i /
soul 《 its adjective is hearty, cardinal 》.
b) affection nin joh / heart
c) courage vitality
d) enthusiasm interest
( ❸～❻ are omitted ) 〕
We might well say that kokoro of mental fusion is related to that in which
ki do a-i raku / joy, anger, sorrow, and pleasure inhabit --- i..e., heart.
And to add, under the KOHJI-EN, it fits the first choice of ➁～➃ of its ex-
planation.
Kokoro or heart in mental fusion / kokoro no yuhgoh can be exdplained
and expressed by the following phrase:
「 To see, feel, and think as other people see, feel and think 」 ---
that is, if another one ( person ) pleases, one pleases, if another one
sad, one feels sad, alike.
In the case of kokoro as mind where intelligence and rationality inhabit,
kokoro no yuhgoh is related to that of the conscious sphere of 「percep-
tion, recognition, thought, or intent, knowledge or ideology, etc. 」
Concerning mental fusion / kokoro no yuhgoh, or, more specifically,
hitotsu ni naru ; se-i itsu se-i / beconing-oneness, there indicated con-
sensus of opinion, thoughts in harmony, accord of words, to take up a
few.
Insofar as standing on the understanding so far attempted, kokoro
could be conclusively settlted to imply ' heart,' rather than ' mind.'
However, at the moment, I reach this conclusion, I was almost about
to stumble over it. For, mental fusion, as repeatedly described has been
directed to dmind, not heart, hasn't it ? --- I questioned to myself.
Getting aware of this reality, I hurriedly returned to the Oxford Modern
English-English Dictionary to see how it exspains each of these words
and their differences. It follows as below.
Firstly, heart:
heart
【 part of body 】
1 the organ in the chest that sends blood around the body,
usually on the left in humans
2 ( literary ) the outside part of the chest where the heart
is
【Feelings / Emotions 】
3 the place in a person where the feelings and emotions
are thought to be, especially those connected with love
* She has a kind heart.
* Have you no heart ?
* He returned with a heavy heart ( = sad ).
* Her novels tend to deal with affairs of the heart.
* The story captured the hearts and minds of a
generation
4 ( in adjectives ) having the type of charcter opersonal-
ity mentioned
* cold-hearted
* kind-hearted
( the following omitted )
With regard to mind:
mind
【 Ability to Think 】
1 the part of a person that makes them able to be aware
of things, to think and to feel
* the conscious / subconscious mind
* There were all kinds of thoughts running through
my mind.
* She was in a disturbed state of mind.
( partly omitted )
2 your ability to think and reason ; your intelligence ;
the particular way that sb thinks
* to have a brilliant / good / keen mind
* I've no idea how her mind works!
3 a person who is very intelligent
She was one of the greatest minds of her generation,
【 Thought 】
4 your thoughts, interest, etc.
* keep your mind on your work !
* Her mind is completely occupied by the new baby.
* The lecture dragged on and my mind wandered.
【 Memory 】
5 your ability to remember things
* When I saw the exam questions my mind just
went blank.
* Sorry --- your name has gone right out of my
mind.
From the above quoted explanations it could be assumed that, ' heart '
weighs on feelings / emotions, whereas ' mind ' prefers the ability to
think, thoughts, intelligence, and memory, etc. More than this, we must
recognize that the meanings of ' heart ' and ' mind ' are overlapped and
intermingled with each other, it may be very hard to distinguish between
the two.
Thus, we come to settle an assumption that the content of kokoro con-
sists of ' heart ' and ' mind ' as well.
It means: kokoro = ' heart ' + ' mind '
It is, to review, made clear that itta-i / oneness of itta-i kan / feeling of
one-ness consists on the mental level such as doh-itsu se-i / identity,
dohji se-i / similarity, dohru-i se-i / alikeness, and se-i itsu se-i / becoming
one.
Yet, in addition to these compoments, there is still another one --- not
indispensable, though, because, without it, itta-i kan / feeling of oneness
can occur ; in this sense, it is not always accompanying one.
The particular compoment refers to the movement or performance on
the physical / bodily level.
That is, we have so far much preoccupied with kokoro / ' heart ' and
' kokoro no yuhgoh ' / mental fusion, but we must notice that the role
played by physiological / bodoly movement or performance should not be
overlooked.
Here is a sketch of cat brothers.
≴ a younger cat following around his elder brother ≵
Whatever the elder-brother cat may behave, the younger-
brother cat does the same as his brother behaves.
When the elder cat cried, the younger did so with the same
tone and intonation as his elder brother did, in spite of differ-
ence between the two of voice. The elder’s was baritone,
the younder one’s husky voice.
The way he walked was utterly the same --- the same pace
as his elder did, although their physiques were different ; the
elder was muscular and handsome, the younger slim and
slender.
A gesture of looking back a moment, a posture when stopping
suddenly --- any of the behaviores the elder took, the younger
cat took them as if his own.
Almost every movement of the body by the younder one was
imitation of his elder cant*s.
Yet, to take a close look, it was apparently not identical nor
' a perfect coincidence ' ; it was reproduction and repetition
by the younger brother of the behavior alike, or similar to,
his elder brother's.
Moreover, it does not mean similarity / alikeness only in out-
ward appearance nor superficila one.
The younger-brother cat imitating his elder brother's move-
ment or performance, he became one with his brother. He
mentally fused himself into his brother. He must have felt
that he were his brother.
Kokoro no yuhgoh / mental fusion, it would be able to conclude, gets all
the more reinforced by way of imitation of physical movements. In this
connection, I would like to take up some more cases in the human world.
≴ A stage singer said ... ≵
' In a surge of excitement, the stage and audience become one,
that feeling of itta-i kan is incomparably wonderful.'
This kind of impression remark made by stage singers we
sometimes come across through mass media.
I myself once saw on the scene of the TV.
Was it for purpose to evoke itta-i kan / feeling of oneness ?
The singer seemed to be inspired by his audience, calling the
tune with claps, words, and shouts. In tuning with his initi-
ative performances, his audience also waved their hands
stamping the floor and swaying their bodies rhythmically in
the same way as he did.
While the series of those physical movements of imitation was
repeated again and again, a distance or a wall between the
singer and his audience, it seemed, got dissolved, and mental-
ly fused, and, the moment arrived that they become one.
The hall turned into wild excitment.
Here, we could discern that, responding through imitation of physical
movements to the appealing performances of the singer, both he and
in one and together, repeatedly took the same or similar movements,
which gave chance to acquiring of kokoro no yuhgoh / fusion of minds.
Now, let us go back to our present concern : itta-i se-i / oneness.
To take up the phenomenon / phrase of ≴ jinba itta-i ≵ and examine ii:
≴ jimba itta-i ≵
Literally translated, it is that ' jim ( = jin ) ' means a man
or horse-rider, and ' ba (= uma ) ' or a horse, and the
two words, put together, means < man-and-horse in one
<div> </div> (- ness ).
This idiomatic expression, it could be assumed, means not only that a
man is just on a horseback, but, he gets in harmony with his horse
( his partner, or his another self, so to speak ), tuning each other 's ko-
kyuh / breath (-ing ), so that the man become mentally fused with his
horse, or both in a state of mental fusion / kokoro no yuhgoh. In other
words, it is to become hitotsu ni naru / becoming-one.
Still another example:
≴ jinba itta-i ≵
--- literally, jin ( = hito ) meams man, sha
(= kuruma ) car, put together, ' man
and car in oneness.'
A car-lover, it seems, in a state of oneness with his car, while driving.
Why he can merge into such itta-i kan / feeling of oneness suppusedly
resides in that he spends much of his time with his beloved car, taking
great care, and with maintenance of it.
His car is no longer simply an inorganic compound made of iron parts,
but it is organic. It is felt by the owner of the car ( car-) as more human
existence than anything else, and, as a result, he develops human re-
lationship with him ( his car ). There he senses / holds itta-i kan / feeling
of oneness, and, accordingly, we can assume, ' jinba itta-i, ' or ' man-
and-car ' is realized.
To review, we have questioned and exmined itta-i kan / feeling of one-
ness, but there still remained one more question : it is related to what
kan of itta-i means ? --- I would like to proceed to consideration on this
subject, for a while.
For the the present, it must be suggested that we have two types of kan :
' kan'joh ( / feeling and/or emotion ) and 'kan'kaku (/ sense ).
To examine this suggestion, let us once again go back to that old German
concept, Einfülung. Fülung is, then, translated into Japanese as kanjoh.
Following this line of Japanese translation, itta-i kan would be, with a
little leap of imagination, assumed to be taken as itta-i kan.
With reference to this assumption, to retrieve hanjoh in the KOHJI-EN,
it reads as follows:
kanjoh
〔➀ kimochi / feeling that occurs in having ki do a-i raku /
joy, anger, sorrow, and pleasure, or good or bad about
things
➁ 〔 psych. 〕 It points the whole processes of feeling, when
the function of mind is devided into chi joh i / seeing,
feeling, and thinking. Johdoh / emotion, kibun / mood,
johcho / sentiment, etc. are included. It is the mental
process by which a subject reacts to, or values an object
or situation such as ' comfortable,' ' beautiful,' or 'dis-
agreeable.' 〕
Kanjoh is expained to be related to joh of the idea ' chi joh i ' --- i.e.,
feeling, which is part of the mind consisting of seeing, feeling, and
thinking, and, in this sense, it is feadtured to have a connotation of feel-
ing.
We would possibly assume itta-i kan as itta-i kanjoh. Yet, we also assume
itta-i kanjoh as itta-i kankaku. To look up, then, kankaku in the KOHJI-
EN:
kankaku
（ ➀ mental phenomena which are experienced, when light,
sound or mechamical stimuli, etc. sensed by the recept-
ors corresponding to each of the. These senses are sight,
hearing, smell, taste, touch, and motion sense, sense of
balance, sense of internal organs, etc.
➁ to sense and grasp things or, its state
➂ ( suffix ) meaning the feel that it is as if ...
Kankaku of itta-i kankaku can be understand to relate to the above explan-
ations ➁ and ➂, but it seems a little too ambiguous to get a clear under-
standing, so let us go on to the English-Japanese Dictioary, and examine
the term, sense --- Kankaku is a Japanese translation of sense ---
( sample sentences are partly quoted ).
sense
〔 ❶ kankaku / sense 《 kankaku ( of each of five senses ) 》
❷ kankaku / sense kanji / feel kanshoku / touch
* a sense of crisis
* I had the sense that I was trapped.
* Cheap bicyle locks give a false sense of security.
❸ a) ( ability of recognition, ability of judgement )
* a refined sense of tasete
* Where's your sense of humor ?
* She has no sense of direction.
b) ( self-awareness idea )
* moral sense
* a sense of morality
❹ ( good sense, discretion cf. common sense )
❺ ( 「one's 」 sanity, consiousness real mind )
❻ ( of words and sentences, etc. ) meaning, intention,
intent )
➐ ( often in negative forms ) value, meaning, effect )
❽ 《 formal 》 intent, viewpoint ( of group, party, etc. )
The word, ' sense,' in terms of meanings / explanations, starts with those
of five senses, and is extended in a relatively wide range, but, for the pre-
sent concern, those of ❷～❹ must be paid most attention at.
This is to say, itta-i kankaku / could be transformed to be the sense of
oneness ; it seems to transcend itta-i kanjoh or feeling of oneness, strongly
colored with emotion / heart, and steps into that of mind as rationality such
as thought, intelligence, etc. and covers its meaning.
It can be, then, assumed to be appropriate for itta-i kankaku / sense of
oneness to signify itta-i kan, yet, its original concept, Einfülung, indicates
' feeling ' ( Fühlung ) --- not ' sense. ' So, following this lead ( model ),
it might be better to give priority to itta-i kanjoh / feeling of one-ness.
Anyway;
Itta-i kan, we could come to a conclusion, assumed as feeling / sense of
oneness, and it depends on sthe situation which one --- felling or sense
is put more emphasis;
Roughly speaking, if emotionally inclined, it could be grasped as itta-i
kan, and, if thought ( mind ) is predominant, then, as itta-i kankaku.
However, actually, when it comes to the present concern, we proceed to
employ itta-i kan, rather than itta-i kankaku, because the former connotes
itta-i kankaku, and we have conventionally used that term, itta-i kan /
feeling of oneness.
--- I have so settled down.
Now;
returning once more to, and reviewing, the concept of kanjoh inyuh /
transfusion of feeling, in the world of interpersonal relationships, I found
out that it is classifiable into two contasting types:
active tosha / projection and passive toh nyuh / introjection
In the context of interpersonal relationships, it could be said, for the latter
type to be developed, or, to emerge frequently, is desired or desirable.
By this very type, one takes in onself another person's senses, ors feel-
ings --- i.e., the mental states, at times, through the physical move-
ment / performance as it is there, or as it so appears ; immediately intro-
jects to oneself, realizing the sameness, or similarity / alikeness, and
becoming-one ( - nwaa ) / mental fusion ( / kokoro no yuhgoh ) with
the other.
Very worthy to notice at this moment is that this type of phenomena /
process is made possible by that by that of kyohyuh, or sharing.
That is to say, kyohkan / empathy has, as one of its main components,
not only itta-i / feeling of oneness, but also something more than that ;
it is exactly the phenomenon / process of kyohyuh / sharing.
Hence, let me make an attempt to examine it.
Before proceeding to this attempt, however, a word should be added ;
although it is that kyohkan / empathy is surely an indispensable element
of kyohkan, it doesd not mean that ' the reverse is also true.'
There exists kyohkan which does not need kyohyuh --- or, without it,
or in absence of it.
With the above indication in mind, let us ask :
' What is kyohyuh, then ? '
To retrieve it from the KOHJI-EN,
kyohyuh
〔➀ two or more people possess one thing in common
「 ___ a secret 」 「 ＿＿ things 」
② ( law ) a form of joint owership, a state in which the
right to own something belongs to several persons
respectively as an owner ( sharer ). 〕
To look up kyohyuh in the Japanese-English Dictionary, its transitive verb,
'kyouyuh suro ' seems most proper to take up for the present.
kyohyuh suru
share
〔share ( fairly ) 〈 interest, job, feeeling, information,
thought, etc.〉 ( with ) to divide ( things ) with to use
together ( with ) impartially 〕
* share a room with a friend
To proceed to the Oxford Modern English-English Dictionary,
share
1 ~ (sth) (with sb) to have or use sth at the same as sb
else
* She shares a house with three other students.
* There isn't an empty table. Would you mind sharing ?
2 ~ sth (out) (among / between sb) to devide sth between
two or more people
* We shared the puzza between the four of us.
3 ~ (sth) (with sb) to give some of what you have to sb
else; to let sb use sth that is yours
* Elis shared his cholate with the other kids.
* The conference is a good place to share information
and exchange ideas.
【 Feeling / Ideas / Problems 】
４ ~(in) sth | ~sth (with sb) to the same feelings, ideas, ex-
pectations, etc. as ab else
* They shared a common interest in botany.
* People often share their political views with their
parents.
* a view that is widely shared
* shared values
5 ~ sth (with sb) to tell other people about your ideas ex-
perience and feelings
* The two friends shared everything --- they had no
secrets
* Would you like to share your experience with the rest
of the group?
Kyohyuh / share or sharing could be, to put it briefly, considered that one
has something with, rather than divide netween, another person (/ other
people).
Then, what is this ' something ' ?
It means object or ta-i shoh of kyohyuh / share, and this ' object ' / ta-i
shoh may be person, thing, event, situation, whatsoever, insofar as in-
cluded in it is kakawari / relevance or sikoh / orientation.
Kyoyuh / sharing, first of all, starts with kakawari / relevance or shikoh /
orientation toward object / ta-i shoh. Incidentally, kakawari is explained
by the KOHJI-EN as kanke-i / relation, tsunagari / connection.
As this explanation makes us feel too simple and unsatisfying, so let
me turn the focus of attention to sikoh / olrientation.
According to the KOHJI-EN,
shiko
〔➀ It is that kokoro ( mind / heart ) works toward a
particular goal kokoro / intention
② 〔 phi. 〕 ( Intention German 〕 to say that conscious-
ness is that consciousness which is always of something
concrete, and that is directed toward something 〕
Shikoh / orientation can be interpretedas the mental process in which
consciousness is directed toward something --- i.e., orientation toward
object / ta-i shoh. To indicated a little more, shikoh / orientation implies
that of kakawari / relevance to object.
With regard to ta-i shoh shikoh / orientation to object, it can be, by the
way it shows itself, differentiated into two types : non-media, or immedi-
ate ; and by-media, or mediate.
For kyohyuh / sharing, as far as non-media type in interpersonal rela-
tionships is concerned, object ( of orientation ) is a person him-/herself.
In the case of kanjoh inyuh / transfusion of feeling of passive toh nyuh /
introjecction type, one takes in oneself the mental state of another person
( shikoh ta-i shoh / object o orientation ) as she / he is there, or appears
--- that is, immediately, without any media, consequently, between self
and other are shared feelings such as ki do a-i raku / joy, anger, sorrow,
and pleasure.
They feel joyful together, or sad together ...
When concrete behavior (/ movement / performance ) of immediate kyoh-
yuh / sharing is assumed, it is that of mimicry or imitation. There is no
need of media between the two ( self and other ) nor is there room to
intervene into. It is immediate relevance, orientation to object.
The same for things --- for example, human produces such as novel,
movies, comics, etc.
When preoccupied with, and, fascinated by the heroin of a movie, one
gets into a mood as if one were the heroin herself, and becomes with her,
one's ta-i shoh / orientation to object, and this type of sharing is non-
media or immediate.
Thi type of sharing or kyohyuh, we could say, occurs on the level where
object of orientation is passively introjected into oneself.
Another type of kyohyuh / sharing is made by-medium or mediate / in-
direct.
Here, in this context, between self and other there appears for both a
like-the-third-party object as a medium. It means that orientation of this
type is bilateral and mutual --- which, more than anything, indicates that
both persons, self and other in orient to the same object, and that they
approve each other in orienting to the very same object so that there as-
sumed is sohgo shohnin / mutual approval of the same sikoh ta-ishoh /
object orientation.
Sohgo shonin, in this sense, is exactly the moment aand element of
kyohyuh / sharing of present type.
To take some examples:
The case in which people are aware of one another that they possess
the same idea, thought or ideology.
Or, ' sharing secrets ' suggests orientation to the same object and mutual
approval of it. And itta-i kan / feeling of oneness which arises therefrom
would establish a freidship with strong unity, or, at times, degrade into an
undessirable relationship hard to cut off.
Similarly, the case of ' iki tohgo. '
To look the phrase in the KOHJI-EN,
iki tohgoh
〔 to become good friends, because feelings get well match-
ed / get in a perfect harmony
「For the first time they met, the two people ___ 」
By the Japanese-English Dictionary,
iki tohgoh
hit it off
〔 to get friends 〕 ( with )
* I met Bill, and we hit it off immediately
To examine tohgoh, just to be sure, in the KOHJI-EN,
tohgoh
〔 two things get in a perfect match harmony with each
to be in a consensus 〕
Iki tohgoh implies, according to the above dexplanation, match, or con-
sensus, of people's minds, and that they get well ( get good friends ) with
each other.
To take a little closer look to ' tohgoh, ' it seems to have the implication
as follows.
It concerns with an object oriented such as an idea, thought, work, etc.
which is the same for people orienting to object; and, another implies
that orientation ( to object ) is the same for them. And, what is important
is that doh-itsu se-i / sameness of both tha-i shoh / object ( of orientation)
and sikoh / orientation ( to ta-i shoh ) is mutually approved by people re-
lated --- that is, sohgo shohnin / mutual approval for the sameness of
orientation and object.
Iki tohgoh is, then, assumed that people get in a perfect match / harmo-
ny with each other in their feelings and ' become one, ' and attain mental /
fusion / kokoro no yuhgoh. Iki tohgoh is a good example of kyohyuh.
And, kyohyuh, to emphasize, is composed of the sameness of object and
orientation ( to ) by two or more people, and their sohgoh shonin / mutual
approval of the same ta-ishoh / sikoh ( object / orientation ).
Let us consider other examples of kyohyuh / sharing:
When two friends have or share the same hobby --- the sam ideas,
thoughts, feelings, etc. about the movie, sports games, etc.
Or else, the case of a pet aminal :
All the familly members love a cat, for example.
The cat loved by them is the object --- that is, thesame object for all
the family member's same orientation. And, if tjey admit / agree to
eatch other, or among them, that they caress their cat, it means sohgo
shohnin / mutual approval of the situation in which all preoccupied with
the cat.
Incidentally,
concerning the first compomemt of kyouyuh / sharing, the sameness
of ta-i shouh / object ( of sikoh / orientation ) and, sikoh / orientation
( to ta-i shoh / object ), between two or mored people, if there emerges
difference or discrepancy between objects and orientations, kyohyuh /
sharing would not come into being.
But, as for the second component, sohgoh shohnin / mutual approval,
kyohyuh / sharing exists in the case that it is incomplete.
That is, people respectively turn each's orientation to the same object
only ( to do so ), and do not recognize nor even are, aware of, each
other's same ta-i shoh sikoh / object orientation. It is the case of lack,
or absence of sohgoh shohnin / mutual approval.
At a movie theater:
One's relevance to, or preocupation with, the movie ( object of orienta-
tion ) deepens, and as his deepening goes on, one's relevance or approval
to people around one gets dissolved.
Now, one soaks oneself in, and, ' becomes one,' or has itta-i kan / feel-
ing of onennes with people around one fall down in the dark.
If sohgo shohnin / mutual approval lacks or dissolvesd, fit would be un-
able to ascertain kyouyuh / sharing, because kyohyuh / sharing inevit-
ably requires sohgo sho nin.
In this case, it is bunyuh.
According to the KOHJI-EN, it is rxplained as:
bunyuh
wakete shoyuh suru koto
〔 to vivide and possess 〕
Regarding the object ( of orientation ) i the case of movie-appreciation,
the object does not mean movie film itself, which is physiccally divide-
able, but the mental phenomenon, movie-appreciation, to which people
respectively and personally orient themselves --- it means devision,
or devided possesion / sharing ( of the movie-appriciation ).
Yet, it is the fact that people see movie together with close friends, or
with other people, it can be assumed, theres exists kyohyuh / sharing
of object of orientation; afterd the movie over, if they talk together
about it, and exchange theird impressions and comments with nods,
then, sohgo shonin / mutual approval would appear and so would be
composed. Still another incomple type of kyohyuu / sharing in terms of
sohgo shohnin / mutual approval.
It refers to difference in object ( of orientation ).
In this case, object oriented by two people ( self and ) is not the same
one --- doh-itsu se-i / sameness of shikoh ta-i shoh / object-orientation
is not given. However, in spite of this difference of object, the object is
mutually approved, and ascertained by people related.
Sometimes we hear the phrase: ' Dohbyoh a-i awaremu.'
To consult the Japanese-English Dictionary, it is explained as follows:
dohbyoh a-i awaremu
Fellow sufferes sympathize with each other ( one another ).
For a more detailed explanation, to look up this saying in the Koji Koto-
waza & Yoji jukugo Jiten,*
________________
* Englidh translation of the tytle of this diction-
ary is < Dictonary of Historical facts, Proverbs,
<div> and Idioms of Four-Chinese-characters>.</div> Installed in my SHARP rlrctric dictionary
( op.cit. )
_______________
dohbyoh a-i awaremu
〔 ( meaning ) people who share the same trouble and suf-
fing can understand well each other so that they can sym-
pathize with each other.
( interpretation ) Fellow sufferers of same illness can
understand each other's pain, and so they feel compas-
sion with each other.
( source ) Go Etsu Shun Suh ( wu yue chun qiu )
( Engliah ) Misery makes strange bedfellows. 〕
To re-interpret the above explanation, in terms of our concern it seems
to go like this:
People who suffer from the same illness are oriented to the same object
( the same illness ), but experience of illness itself is individual and per-
sonal --- that is, different. In this sense, orientation of object differes
between ( among ) the sufferers. Nevertheless, severe experiebces such
pain, agony or bitterness would be assumedly shared with by them; if
they, the sufferers, talk to each other ( one another ) their heavy experi-
ences, it would result in sohgo shonin / mutual approval.
Or, when meeting others suffering with which then reminds one about
one's own past, one by overlapping it to the other's, and evoking it in
oneself, feel the same pain as the other does, sohgo shonin / mutual
approval could appear there. This kind of phenomenon is regarded as
quasi-, or analogous to, sohgo shohnin. That is to say, it is an incomplete
one.
In any way;
For sohgo shonin / mutual approach to be make clear, it requires explicit-
ness in the same ta-i shoh / object and shikoh / orientation and it is
these two elements that make up the most important components to
produce kyohyuh / sharing.
From nowon, I would like to make a re-consideration on kyohkan /
empathy, by taking up arbitrarily several of the episodes which I have
sketched in the previous papers : 《 and interpersonal relation-
ships 》 and 《Kokyuh Breath, Choh Kikankaku / Super Ki sense, and
and》. Kyohkan / empathy is, therein, to be considered and
exxamined in its relevance to interpersonal, particularly, with its
< presence ― absence > and < necessity ― unnecessity >.
≴ departing lovers (i) ≵
At the beginning, their dainting was so exciting and dreamy,
but, soon, as autumn wind began to blow --- that is, their
passionate feelings cooled down, just as dead leaves fell down.
So sad to say, but they departed.
There remained only a mood of lonsomeness alone.
In this case, kyohkan / empathy is, we might well say, ' gone with the
leaves.' Kyohkan / empathy lies at the foudation of the tie that unites
the two people tokgetherd closely. Yet, its is not unshakable nor strng.
Rather, it is delicate, frail, and fragile; it is inclined to be easily broken.
It is usually too late for the lovers to be aware of it.
After ' all is gone,' they realize the irrevocable situation.
If not so, that is they could enduregreat endure great hardship of love,
and could narrowly maintain kyohkan / empty betweem them, then,
their love would grow up from transitory passion to everlasting, mature
one.
≴ sisters sharing a room (ii) ≵
They used to live separtetly. But, as the recession proplongd
long, they, unwillingly, agreed to live together for purpose
to cut down on expenses.
They soon began dto insist on their own opinon against
each other which, at times, went up to a clash of opinions
caused a lot of small troubles.
For example, a tiny ' kichen garden' at the side of a window.
What they each inssisted to grow were different.
The elder one was for vegitable, the younger herabs. The
clashes got escalated, and almost to an 'all-out war.'
But, just before that happened, they hurriedly retired
into their private room, and avoided the srious situation
to occure. Though this kind of clash was repeated, why it
did not reach fatal separation, which might be unable to re-
store, is because all of their behavior was based on kyohkan /
empathy lying in the depth of their heart.
Certainly, on the surface, the interpersonal relationship of
the two sisters appeared tough and hard, and collisions be-
tween them led almost to climax where there was no room
for them to talk with, yet, underneath, kyohkan / empathy
was surviveal.
In this case, kyohkan / empathy could become tough,
strong and tenacious --- provided that it is contingent on
the situation involved; it means that kyohkan / empathy
it means that kyokan / empathy is not always nor necessari-
ly, so ( tough, strong, and tenacious ).
≴ a reunion of old classmates ( iii ) ≵
They were the best friends in their schooldays.
They spent time together in joy and sorrow while studying,
talking, etc.
After graduation, they each took different courses of life :
a career woman and a full-time homemaker.
As years have passed by, the relation between them got step-
arated more and more. But, one day, they met together
again ; it was just when they were passing the turning
point of their life.
On their reunion, they at first felt somewhat uneasiness,
but, very soon, it got loosened and thawed out, and so
had a long chat over their good, old days.
It did not take a long time to go back to the days the spent
together. This kind of thing happened almost before they
know it.
Kyokan / empathy must have survived, it must be fragilely
or frailly though, at the bottom of their heart with the
memory of the old days.
And, strangely enough, they did not seem to be aware of
their kyohkan / empathy. Thas is, it did not come up to
their consciousness / awareness during their reunion.
Kyoukan of this kind is implicit. I is something simply
as natural ' a matter of course.' It is a mental phenome-
on that occures under consciousness, or subconsciously.
≴ a couple at a dining table ( iv ) ≵
The wife is very talkative and talked one-sidely, while the
husband clam up, taking th tactic of keeping ' mummm ... '
only to endure his spouse's annoying talk, but his behavior
made the talktive wife much frustrated and irritative.
' No talk from my husband ... '
Nevertheless, at every meal time, they continue to be at the
same table --- rather a strange, queer scene, indeed.
It is, we could discern, because kyohkan / empathy is there
is some way or another maintained between the couple.
Happy experikences of the past --- they don't remember
such things any longer, they would so say in chorus, sharing
strong rejection / objection against it, though; but, in the
depth of memory, they share the past experiences which
were felt so happy, then.
Otherwise, even in the middle of her one-sided talk so over-
powering to her husband, she somehow shows delicately
kindness and considerateness, which he does not fail to
catch, and let him try to do his effort ( of claming up ) to
get along well with her.
Anyway, there seems to exist kyohkan / empathy some-
where between the couple so that they can keep taking
meals somehow peacefully.
≴ barker ( v ) ≵
' Step right up ! Right up ! '
People ( passers-by ), attracted by his cheerful shouts and
clapping hands, stopped at the display of goods in front of a
shop, and led to the inside.
Between the barker and people, it seemd to emerge some-
thing like itta-i kan / feeling of oneness, which may be said to
result in kyohkan / empathy.
They both were occupied with the mood where they become
one together. And that was, it seems, why people were lured
into the shop.
By contrast, in the case that the baker failed in his perform-
ance, it exactly means the failure of producing that mood to
invite people into the shop, and so of evoking kyohkan / em-
pathy.
≴ eloquent speker (vi ) ≵
An eloquent speaker appeals his ideals, ideas, and thoughts
to his audience self-cofidently. Not only with his voice, but
also with his arms spreading wide, or holding up overd his
head whenever he thinks it isf necessary.
The auddience become gradually enchanted by hisf fperform-
ances adnd dbegin to aspprove every word he sdspeaks so
as to match kokyuh / breath (- ing ), and kokoro / mind with
the speaker. In due course, they become one.
The kind of itta-i kan / feeling of oneness would also arise
among the side of the audience. He was of kyohkan / em-
pathy which, being at first like a small ripple, grows increas-
ingly into a large surge until the hall is filled with, and
mount to excitement and enkthusiasm reaching the climax
of speech. This kind of thing happens in sports game stadi-
um, musical concert hall, etc.
Excitement in a stadium or a hall is not there from the
beginning ; it is produced in thed course in which players
players show fantastic performances. At this moment, all
join together, and sway, which soon develop into one big
balloon-like atmosphere --- i.e., itta-i kan / feeling of one-
ness.
There, tehn, appears kyojkan / empathy, and, eventually,
the stadium or hall would become hot with excitement /
enthuseasm.
≴ divorced couple (vii ) ≵
The wife was engaged in a full-time work : a secretary to
the president of the company she worked at.
Competent as she was --- a type of woman who feels
unbearable if sdhe could not put everything of herd family,
her home, her children, etc. under her control.
Her husband, on the other hand, was a person of weak
character. So, he was used to get pushed by his pushy wife.
Finally, he has taken peace to alchohol, became drunkard,
and quited his job once hewas so earnestly engaged in.
All of this brought about a catastrophe.
This kind of thing must have not happened only if they could
share kyohkan / empathy some way or another, however may
it seemed almost broken.
Sorry for her, the attitude of consideration she had in try-
to get well together with her husband was a little too weak,
and so, for her let-down husband, her words of consideration
and encouragement could not evoke in him kyohkan / em-
pathy with her, on the contrary, were sfelt by him as wither-
ing comments or reproachesvwhich strung him deeply in the
heart.
The relationship between the couple got hopelessly cold,
and their final conclusion ended in divorce.
≴ friends always in ( viii ) ≵
They are old friends ever since childhood.
Whenever they meet, they have chats peacefully; they have
a peaceful time for a while, but, then, they get used to a
heated battle of words which grow into fury, and so, ultim-
ately, they sit up and go away in the opposite direction.
Next day, they see again as if nothing happened the day
before but, sooner or later, start to perform their usual
ritual --- i.d., a quarrel.
There apparently exists between the kyohkan / empathy,
however vague it may seem; therwise, their friendship
would be broken forever.
Memories of the childhood days they spent together, and
got into mischief together --- such experiences as shared
by them unite them deep at the bottom.
It appears as if it has disappeared entirely during their
quarrel, but after the quarrel is over, it again shows itself.
When exhausted by work --- by a quarrel as well, people aresf inclined
to take sweets such as candies, choclates, etc., they not only need these
things, but also mental ones ---- for example, comfort / ease / rest.
An attempt to obtain them requires recovery of the mental tie between
the parties is, needless to say, kyohkan / empathy, because on the basis
of this kyohkan the mental tie comes true.
If only there exists between the two friends kyohkan / empathy, resgard-
lessof how hard a time they may spent in quarreling against each other,
their friendship would be evarlasting one.
Contrarily, if kyohkan / empathy does not appear, an argument would
turn into a quarrel or brawl, be apt to get escalated, and radicalized, and,
friendship or even just an interpersonal relationship would be directed
to a state of serious breakdown.
If so, its recovery woud be terribl difficult.
There would remain emotional lump in the chest, or unbearablee tension
between the two friends which wold, it is not unusual, reverberate long,
and at times would increase as time passes by.
In case kyohkan / empathy is ever found somewhere or wonehow in their
relationship, we could expect / assume positive turn of it, but if suggests
the end of friendship.
It must be wise for them to put a period on their friendship.
Otherwise, it would go bad to worse, and, eventually, into ' mutual loath-
ing,' or kusare en / 「 undesirable but inseparable relation 」 --- accord-
ing t the Japanese-English Dictionary.
Taking into consideration the review of the episodes above sketched,
let us re-examine kyohkan / empathy of its relevance to interpersonal
relationships, particulary, on the line of < necessiity ー unnecessity >
or < presence ― absence >.
As far as necessity of the present sense is concerned, it implies that
kyohkan constitutes the key for maintenance and develpoment of inter-
personal relationships.
The examples ( episodes ), ( ii ) ~ ( vii ) are most applicable to the pres-
ent case.
And, if only there exists kyohhkan / empathy or its necessity is assumed
as desired or desirable --- these cases are related in the episodes ( i ),
(v), and ( vii ).
Kyohkan / empathy may act as a ' libricant,' or ' reinforcement ' to inter-
personal relationships, but, primarily, it is, we could assume, the pivot,
the bottom line of interpersonal relationships.
In the case of unnecessity, kyohkan is, we could asssume, not neces-
sarily required for interpersonal relationships ; it would be quite all right,
if if is not there ( absent ). That is tosay, without kyohkan / empathy,
interpersonal relationships would be maintained and developed.
Under such situations, interpersonal relationships refer sto, and relate
with dohkan / the same feeling, doh-i / agreement, and dohchoh / con-
formity. ( I am to take up this subject in the following section. )
Wether or not, kyohkan / empathy is there --- i.e., the problem of its
presence and absence may be made clear, if this problem is related by
that of explicitness and implicitness.
' Kyohkan is explicit ' means that it resides in the high tune of excite-
ment / enthusiasm as sketched in the above episode (i).
Generally, this type is temporal or short-lived, and seen to carry a
tendency not to last long. It is the emotional state that is unseen and
untouched by the persons interpersonally related, but, despite of this,
it still exists there.
Comrades tied with strosng bond, for example --- here, explicitness of
kyohkan / empathy gives much impression to us, but even in this case,
it may happen to be kept out by somewhat unavoidable constraints.
On the other hand, there are actually cases that we see no existence
of kyohkan / empathy. That is to say, it is only implict, just vague ...
Its existence is frail, fragile, and easy to be broken as to the episode (ii )
shows, yet, it does exists vaguely somewhere in their relationship ---
only to that extent ( vagueness ), though.
And it survives surprisingly enough. Occasionally, it makes its appe-
arance ( presence ) explicitly before one notices it ( the episode (vii) ),
and activates it. At times, it disappears like a bubble, shart-lived.
A word uttered unintentionally or rather thoughtlessly, makes a crack
in friendship, unable to restore, and invites an announcement of break-
ing with one's friend.
In this case, kyohkan / empathy would also be collapsed ; feeling of
deep regret one must have, which would be incalculable for people other
than oneself.
As a conclusion :
kyoh kan / empahy is for maintenance / development of interpersonal re-
lationships not absolutely necessary or imperative. Its necessity is relative.
It needs to be there ; it's better to be present, but not inconvenient, if
not, kyohkan / empathy, it seems goes back and forth along the line of
< necessity ― unnecessity > or < presence ― absence > which just
depends on the situation.
Nevertheless, if we think of the significance of khohkan / empathy in
interpersonal relationships, it eould be next to impossible to assume it
without its necessity and presence.
Lastly, let us review, all over again, and summerize the search we have
attempted for our main theme : ' What kyohkan / empathy is ? '
Kyohkan is, first of all, positioned as the term of Japanese coinage
( translation ) of ' empathy.' An attempt was furtherd made to examine
and clarify the nature of kyohkan, by referring to kanjoh inyuh, another
Japanese translation of ' empathy.'
The original concept kanjoh inyuh is ' Einfühlung ( German ) ' whose
whose English translation stands for ' empathy.' In this connection,
I must add, ' transfusion of feeling ' is personally,' that is, by the pres-
ent writer's aribitrary choice ( coinage ), adopted as its re-translated
term into English.
After some consideration / examination of it, we came to an understand-
ing that kanjoh inyuh is differentiated into two types :
tohsha / projection and tohnyuh / introjection
The former means that one throws or casts one's ownself ( one's mental
states ) on an object ( person ), and senses it as belonging to the object
( / person ), whereas the latter is grasped that one takes into onself the
object ( / person ) immediately as it is there, ord as it appears before one.
These two contrasting types of mental state are further classified one the
< active ― passive > scheme.
active tohsha / projection and passive / introjection
In the case of kyohkan / empathy, it implies the latter passive tohsha /
introjection : it is that for the everyday world of interpersopnal relation-
ships to be more effective, it would not be too much to say that kyohkan /
empathy can be characterized by passive tohnyuh / introjection.
Next, we went further to consideration / examination of the content of
kyohkan / empathy, its major components.
One of them is, in a word, itta-i kan / feeling of oneness. To analyze this
particular mental state, there put into redlief are three minor ( sub- ) com-
pontent.
The first assumes doh-itsu se-i / sameness. This ' sameness ' to specify
more rigorously, doh-i se-i / similarity and dohru-i / alikeness in ( object-)
orientation between self and other, which means the mental state such
as feelings, thoughts, etc. of self ( one ) is same / similar / alike / to
( the ) other's.
The second is yuhgoh / fusion. This arises when the first component,
doh-itsu se-i / sameness is present.
It is that the mental state of sameness / similarity / alkeness / dissolves
the wall of differentiation or distance between self and other, and realizes
the two minds ( of self and other ) to getd mutually penerated and fused
into self-other indifferentiation.
This particular state leads to the third minor component of itta-i se-i,
or oneness. It means that self and other ' become one ' / ' itta-i ni naru, '
for them ( self and other ) to be one mind, i.e., one form of mind ---
or the one mental form of two or more people.
In addition to the three minor components of itta-i kan / feeling of one-
ness as above mentioned, there assumed still another one, although not
indispensable, only an accompanying one.
It implies doh-itsu se-i / sameness /similarity / alikeness of bodily move-
ments and performances --- concretely, imitation and mimicry by self
of other's physical behavior.
Furthermore, as the major components of kyohkan / empathy other than
itta-i kan / feeling of oneness, we assumed and indicated kyohyuh /
sharing.
In order to grasp what kyohyuh is, orientation / shikoh to object is taken
for examination.
Consensus of object-orientation, together with mutual orientation, we
came to an understanding that they make up kyohyuh / sharing.
Shikoh / orientation ( to objet ) has two different types : immediate
or direct, and mediate or indirect.
As for ta-i shoh / object ( orientation ), it happens to show itself an in-
comeplete type as is the case that an object is not the same and identical
for self and other orienting to the object, or the case that object is implicit
( not explicit ) in orientation. Yet, even in this case, if the existence of
sohgo shonin / mutual approval is ascertained, it is exactly dthere in which
kyohyuh / sharing is assumed to emerge. To put it another way, if sohgo
shonin / mutual approval is absent or lacking, kyohyuh / sharing would
not come up, and, accordingly, so would be kyohkan / empathy.
Accordingly, kyohkan is, we could assume as a conclusion, produced by
itta-i kan / feeling of onenes as accomying kyohyuh / sharing.
I have admittedly made a long, somehow tedious expedition to consider-
ation / examination of kyohkan / empathy, but, to put it short and clear,
the fundamental of kyohkan / empathy is :
' One sees, feels, or thinks as the other sees, feels, or thinks' ---
to put it still another way, it is : < to put yourself in sb'sshoes > ;
< to put oneself into ( in ) O' s shoes >.
With these sayings in evveryday life, allow me to close our search for
' what kyohkan / empathy is ? ' for the present.
II Jiritsu / Independence and Jiritsu / Autonomy
By the way,
to observe human life from the process of child development, at the
beginning stage, one lives in the world of dependent-relationship / ison
kanke-i where one is surrounded by adults, and, particularly, cocooned
with parental affection and protection.
However, one does not stay peacefully there forever. Time will inevitably
come when one will depart from such ison / dependence, and start to
stand on one's feet, or live one's own life. It is an opening of experience
--- i.e., jiritsu or independence.
Here in the present section, we would like to consider / examine the con-
text of/ < dependence ― independence >, keeping an
eye to its relevance to kyohkan / empathy reviewed in the previous sec-
tion.
Firstly, let us start with ison.
To retrieve it from the KOHJI-EN,
ison
〔 ( to say ' izon ' also ) to exist dependent on other things
( life being ___ parents ) 〕
It seems too simple an explanation, so let's proceed to the Japanese-
English Dictionary, and examine it;
izon 〔 = ison 〕
dependnece
〔 juhzoku / subordinaion ( to... ) ison / dependent relation
( on, upon ) ; to rely ( on people or others ), ( state of )
ison ( on, upon )
reliance
ison ( on ... ) ; sinra-i / trust, confidence ( on, in ) 〕
Further, to consult the English-Japanese Dictionary for ison or depend-
ence;
dependence
〔 ❶ tayoru koto / to rely ( on people and others ) ; depend-
ent ( state ) ira-i / reliance ( on , upon )
❷ juhzoku / subordination ( to ... ) ison kanke-i /
dependence ( relation ), ( on, upon ) ; dependence
( between A and B ) 〕
❸ ( omitted )
❹ ( omitted )
To go on to the Oxford Modern English-English Dictionary ( partly
omitted );
dependence
1 ～ ( on / upon sb / sth ) the state of needing the help
and support of sb / sth in order dto survive or be successful
* his dependence on his parents
* our relationship was based on mutual dependence
Ison, to revive its meanings / explanations above listed, implies the state
where one exists, lives, or survives, asking for the help or support of other
things.
It also connotes subordination and reliance.
To apply this understanding to the interpersonal relationship of self-and-
other dyadic type, it would mean ison / dependence of self on another
person ( other ).
And, we can discern, another meaning of ison / dependence ; it is tayori.
To look up the word in the KOHJI-EN,
tayori
* 1 to rely on a perspn or thing to ask for the help partic-
ularly, resources, economic forces
( the following omitted )
In summary of the above quoted ison / dependence in interpersonal re-
lationships firstly assume, amd, is oriented to, the existence of ( the )
other ; without it, one ( self ) may not be able to lead one's interpersonal
life, which implies apprehension or reality that one would put in danger
one's own existence, life as well as survival.
So, the interpersonal relationship of this type, to repeat, is characterized
as ison kanke-i / dependent relation which assumes tayori / reliance on
( the ) other.
In this connection, we could assuredly say that ison/ dependence is
originated from kyohkan / empathy, and produces it.
There is, then, a close correlatio is assumed between ison / dependence
and kyokan ; and this tendency seems prominent in the primary stage
( form) of kyojkan / empathy such as mother-child relationship.
That is, ison / dependence ' or dependent relationship ' is apparently
the soil of kyohkan / empathy --- at least, at first sight, it so appears
But, here, it deserves a special attention, we must discern and see to
it that jiritsu / independence, the contrasting term to ison / dependence
furnishes the moment to give rise to kyohkan / empathy.
In order to examine jiritsu / independence more in detail, I would like to
proceed to the KOHJI-EN,
jiritsu
〔 to make judgement all by onself and stand on one's own
feet, without accepting the help / support of others or not
being influenced by others hitori dachi / standing by
oneself （ ___ economically ) 〕
And, to go further to the Japanese-English Dictionary,
jiritsu
independence
〔 dokuritsu / independence jiritsu / independence ( of,
from ... )
self-help
jiritsu / independence
( der. ) jiritsu sita
independent
self- sufficient
jiritsu
live one's own life
stand on ( upon ) one's own ( two ) legs ( feet)
According to the English-Japanese Dictionary,
independence
❶ dokuritsu / independence jiritsu / independence
( from )
❷ ( of a person ) jiritsu / independence jikatsu / self-
support
It could be assumedly concluded that it is jiritsu / independence alone
not ison / dependence, can play by far important a part in kyohkan /
empathy.
In this connection, let us take up the word ziritsu, which related or,
rather, twin-like in the sense that it carriess with itself the same pro-
nunciation as jiritsu / independence, and synonymous, but differet
in meaning.
To consult the HOHJI-EN,
ziritsu
〔 ➀ to regulate one's action shita-i teki ni / subjectivity
to behave in accordance with the norms one has
established by oneself, releasing oneself from external
governance and control
➁ ( phil. ) 〈 Autonomie German 〉 〕
( omitted )
To further go on and step in in the Oxford Modern English-English Dictio-
nary to examine, ' autonomy,'
autonomy
1 the freedom for a country, a region or an organization to
govern itself independently
( syn. ) INDEPENDENCE
* a campaign in Wales for greater autonomy
2 the ability to act and makedecisions without being controlled
by anyone else
* giving individuals greater autonomy in their lives
To put, then, them in order, re-organizing the meanings /explanations
of jiritsu / independence with those of ziritsu / autonomy, it goes as
follows:
* not to accept the help of others ( people / things ) and
not to be controlled;
* to escape control or constraint from the outside;
* to make decisions and judgement by one's own ability;
* to stand on one's own feet;
* to live by oneself ( without help ) ;
* to resgdulate one's action subjectiveely;
* to behave in accordance with the norms one has
established by oneself
Thus, the features of jiritsu / independence and iritsu / autonomy can
be classified into the two levels.
The first one is so characterized as exclusion or elimination of constrain-
ing influences from the outside such as help, control, etc. to escape from,
or avoid, contacts of influencing others, and free / release oneself from
their constraints. The charcteristic point is jiritsu teki / independent.
The second one is ziritsu teki / autonomous in that one whoo has attained
freedom directs, controls, and regulates one's won action according to the
norms one has established by one's volition ( decision and judgement ).
With the above understanding, jiritsu / ziritsu or independence / auton-
ony could be concisely expressed as < going my way >.
To look up the phrase, ' gohingu ma-i wu-e-i ' --- which is the Jananese
pronuncitation ( oral translation ) of < going my way > --- in the KOHJI-
EN,
gohingu ma-i wu-e-i
【 going my way 】
〔（ taken after the original title of the American movie
< Going my way > produced in 1944 )
not being fluctuated / influenced by others' opinions
and behavior, to lead thoroughly one's own life as
one intends to do so 〕
The phrase, < going my way >, it seems, presupposes ' to live alone';
all by oneself; to live all on one's own. ' On one's own' means ' by one
alone ,' which naturally leads us to associated with kodoku and koritsu.
To return to the KOHJI-EN and examine these two words ;
kodoku
➀ ( omitted )
〔➁ have no friends hitori bocchi / being all alone 〕
koritsu
〔 to be all by oneself far apart from others to be all
alone without help 〕
So simple are these explanations that let me turn to the Japanese-
English Dictionary, and look up again kodoku ;
kodoku (-na )
lonely
〔 〈 a person, thing, et. is 〉 alone kodoku na / solitary
《 * It implies to prefer living alone because one dislikes
a social life. 》 to feel lonsome to be alone
alone
〔 ( descrip. ) all alone ( at the point of ... ) solitary
( in ) 《 *( 1 ) It does not necessarily imply misery or
unhappiness, being different from ' lonely,' 'lonsome,'
( 2 ) limitedly, is used ' lonely ' 》
solitary
《 formal 》 ( person ・ nature is ) kodoku / solitary
love kodoku / solicitude sabisi-i / lonely and sad
* a solitary person
lonsome
《 informal, mainly in the USA 》 〔 asking for (special )
friends 〕 ( feeling sentimental ), sabishi-i / lonely and
sad, solitary 〔 for 〕 〕
kodoku sa
〔 《 formal 》 kodoku / solitude, living alone ; ( of life,
place ) sabishi-i / lonesome ; isolation ( in terms of
place, etc. )
To further proceed to the Oxford Modern English-English to retrieve the
above cited word, solitude:
solitude
the state of being alone, especially when you find this
pleasant
( syn. ) PYIVACY
To look up other related words, alone, lone, lonely and lonesome into the
same dictionary,
alone
1 without any other people
* I don't like going out alone at night.
* He lives alone.
* She was sitting all alone in the hall.
2 without the help of other people or things
3 lonely and unhappy or without friends
* Carol felt all alone in the world.
* I've been so alone since you went away.
4 ( omitted )
( idioms also omitted )
lone
1 without sny other people or things ( syn.) SOLITARY
2 ( especially B & E ) without a husband, wife or partner
To share the care of children
( syn.) SINGLE → note at alone
(IDM )
a ' lone ' wolf
* A person who prefers to alone.
lonly
1 unhappy because you have no friends or people to
spend alone
* She lives alone and often feels lonely.
2 ( of a situation or period of time ) sad and spent alone
* all those lonely nights at home watching TV
3 ( of places ) where only a few people everd come or
visit
( syn.) ISOLATED
lonesome
1 unhappy because you are alone and do not want to be
or because you have no friends
* I felt so lonsome after he left.
2 ( of place ) where not many people go ; a long way
from where people live
* a lonsome road
→ note at alone
Furthermore to examine koritsu in the Japanese-English Dictionary;
koritsu
〔 【 isolation 】
( to make ) isolated bunri / separation kakuri / segreg-
ation ( from ... )
isolate
( Person, thing or matter ) isolatesor separates
( perspn, thing or matter ). 〔 from ... 〕
cut off
to isolate ( people, area ) 〔 from 〕
( der. ) koritsu sita
lonely
( lim. ) remote isolated ; 《 mainly lit. 》 desired
lone
( lim. ) 《 lit. 》 〔 a thing 〕 is isolated ( from other
things ) 〕
isolated
Let me nwo review all the meanings /explanations of the words above
quoted, kodoku is understood to mean to be alone, and this state of
alone-ness implies the elements of isolation from other ( people and
things ).
Further, based on the present understanding, the two contrasting types
of kodoku / aloneness would be classified on the axis of
positive>, and may be more easily understood, if we take into consider-
ation and the difference in meaning of the English words above quoted.
The negative feature of kodoku implies loneliness / lonesomeness,
and unhappy / misery. For exadmple, one feels unhappy because one
lives alone ; one has no friends so feels sad lonesome ...
These negative features of kodoku /aloneness express the emotional
state of the category of English words such as alone lone, lonely, lone-
some ...
On the other hand, the positive characteristic of kodoku could be applied
to the meaning of solitude, which stresses preference for being alone or
living alone, and comfort one feels of the particular state of being and
living.
That is to say, on hearing the phrases, ' to be alone, ' ' to live alone, '
or ' to lead a single life, ' people gets frightened and intimidated with a
feeling of pity or compassion, and are prone to building an image of
misery unhapiness about these phrases, and about people susceptible
to them.
This seems to be a general tendency in everyday life.
Yet, we could say, it is not necessarily the case.
Being alone, or living alone, is not to spend an empty time nor empty
empty days. On the contrary, it is a time to enjoy a real sense of full-
fillment. That one has no friends nor can fine anyone else to talk with
does not mean interpersonal isolation from other people ; rather, it is
a liberalization from them and release from many troubles and difficulties,
i.e., troublesome, bothersome, or annoying affairs casued by interpersonal
relationships.
It means that one is not interfered nor disturbed by other people.
That is to say, one is not liberated / redleased from interpersonal concerns,
and that one retires to the world wherre one leads a personal life in lib^
erty.
Accordingly, the primary feature of kodoku / alonness could be assumed
as that of the positive sense --- i.e., solitude. That is tosay, kodoku is
hereafter in the present section treated and understood as kodoku /
solicitude rather than kodoku / aloneness, and all of it means that one
lives in the way one desires, i.e., exactlt a fulfillment ' going-my-way'
life.
Thus, with kodoku / solitude in the positive sense as we have assumed
above pura-ibashi-i, the Japanese pronunciation of the English word,
' privacy ' would be associated.
This kind understanding could be made clear by the meaning / explana-
tion of ' solitude ' cited in the Oxford Modern English-English Dictionary.
At the end of explanation it is kindly pointed, with the mark of (syn.),
PRIVACY. So, in this sense, kodoku / solitude of the second tpye could
be in its implication easily concieved to be likable to 'privacy.'
To consult the KOUJI-EN,
pura-ibashi-i 〔 privacy 〕
〔 not to permit disturbance from other people, freedom
upon each's life 「 invention ___ 」 〕
To drop in the English-Japanese Dictionary,
privacy
〔 ❶ a personal life, being free from disturbance or other
people pura-ibashi-i / privacy ; retirement
inton / live in seclusion dokkyo / life in solitude
* an invasion of privacy
* presence one's privacy
* the right of privacy
❷ secret na-imitsu / confidence ( ⇔ publicity )
* in privacy
* He taught himself to play guitar in the privacy
of his own home. 〕
Further, to go back to the Oxford Modern English-English Dictionary,
privacy
1 the state of being alone and not watched or disturbed by
other people
* She was longing for some peace and privacy.
* I value my privacy.
* He read the letter later in the privacy of his own
room.
2 the state of being free from the dattention ofd the public
* freedom of speech and the right to privacy
Here, let us point out once more the positive feature of kodoko /solitude
which equals pura-ibashi-i / privacy.
It implies that one does not depend on otherd people --- that is, one
dissocitaes, cut off, relevance with them or keeps distance from them,
and so liberating or releasing oneself from them aquires one's own space
of being all alone, which is fel quite pleasant and comfortable.
And, furthermore, to return to as far as back to jiritsu / dindependence;
ziritsu / autonomy, when understood as connected with kyohkan / em-
pathy, through departure from ison or dependence on other people, it
( jiritsu / iritsu ) is assumed to produce, and, eventually, to encounter
kodoku / solitude, especially its positive feature privacy.
By the linkage above reviewed, then, jiritsu / independence and ziritsu /
autonomy obtains its marked characteristic: to put it in short, jiritsu and
ziritsu in the context of kyokan / empathy contains privacy.
To proceed further;
As already touched, kyohkan / empathy takes a form, primitive and
primary, such as that of mother-child relationship, which implies itta-i
kan / feeling of oneness, it is indifferentiation between self and other
attached by emotional tie --- a state of being as if swaying in a cradle.
Yet, this kind of state does not last long; as one's self awareness devel-
ops it, kyohkan / empathy goes down deeply into the bottom of mind.
On the awaresness of self, its accompanying element, privacy, it should
be stressed, becomes prominent, which is because we could assume
that, in interpersonal relationships only between tween individuals ( self
and other ) with such self-awaresness as implying jiritsu / independence
and ziritsu / autonomy and pura-ibashi-i / privacy, there would be pro-
duced and formed a new type of kyohkan / empathy.
This type of new kyohkan / empathy may well be called se-ijuku sita,
or matured / mature kyohkan. 'Matured / mature' is, to abbreviate,
' mature (-d) .'
To grasp this mature(-d) kyohkan / empathy more in detail, it, first of all,
assumes self-other differentiation, or differedntiation, or separation of one
from the other, getting out of self-other, getting out of self-other indiffer-
entiation.
Based on this assumption, one is taken to be composed of jiritsu / inde-
pendence, ziritsu / autonomy, and pura-ibashi-i / privacy.
Mature(-d) kyohkan / empathy, then, emerges.
In the state that the two parties, differetiated, individual self and other,
arrive at itta-i kan / feeling of oneness --- that is, sharing with each
other doh-itsu se-i / sadmeness ( similarity / alikeness ) in seeing, feel-
ing and/or thinking. And, this particular set of mature (-d) kyohkan / em-
thy appears in various forms.
Some of them may survive long, or be even everlasting. But, others
be of temporary, transcient, contingent, ect.
There also may be only a case of done-time occurance.
All of these indicate ' escape ' or ' flight' --- that is to say, one of the
attributes of mature(=d) kyohkan / empathy in interpersonal relationships
is ' flight into privacy.'
To live always and forever in interpersonal relationships of kyohkan / em-
pathy --- to be always together with others, and physically and mentally
share time and space with them; it is this kind of situation that people
would be deriven to suffocation; they go into annoyance and irritatio,or
fury and, finally, with emotional explosion to the ruin of mind.
It seems to need a rest, or ' a change of air,' for a while.
In such a case, it must be the best way, if any, for one to temporarily
retire, retreat, or withdraw to on's own personal space, be it physical or
mental, where one can keep pura-ibashi-i / privacy.
On mature (-d) kyohkan / empathy, privacy which characterizes
jiritsu / independence and ziritsu / autonomy assumes not only the basic
requiement of kyohkan / empathy to emerge ; but also through free
operation and manipulation of it ( privacy ), it could be the moment to
strengthen all the more, and to develop into kyohkan o mature (-d) type.
Incidentally;
over kyohkan / empathy, there comes one more component other than
jirisu / independence and ziritsu / autonomy to be assumed.
It is ta-i ritsu or opposition.
To retrieve the word from the KOHJI-EN,
ta-iritsu
〔Two things compete with each other, taking the opposite
position. 〕
To proceed to the Japanese-English Dictionary:
ta-iritsu
opposition
〔 hanta-i / objection ta-iritsu ( against ) / confrontation ;
han kan / antagonism (to )
* in opposition ...
conflict
《 formal 》 ( of opinion riga-i / interests etc. )
shohtotsu / collision mujun / conflict fu-icchi / inconsen-
sus ita basami / dilemma ta-iritsu / confrontation ( with/
between / over )
* a conflict of opinions ( interests )
collision
* a collision of interests ( views )
antagonism
《 formal 》 ( mutual ) hanmoku / hostility tekita-i (sin) /
rivaly ta-iritsu ( between / for, against, toward )
* be in ( come into, be brought into ) antagonism
with him
rivalry
ta-iritsu ( with / between, among / in / for )
* Rivalry overd the succession broke out between
the two clans. 〕
Under this word / phenomenon are gathered and assembled many words:
ta-iji / opposition, ta-iketsu / confrontation, hanta-i / objection, hankoh /
rebellion, te-ikoh / resistence, kohgi / protest, etc. to mention. Among
these words, let us take up ta-iji and ta-iketsuto as appropriate for the
present context, referring to the KOHJI-EN;
ta-iji
〔 to make clear one's position, standing against O
face up to 「 both armies ___ ing 」 〕
ta-iketsu
〔 both sides clearly decide the outcome of which one wins,
in terms of ' right or wrong,' or order of priority by con-
fronting agaimst each other「 to ___ one's old enemy 」
「 ____ of two heros 」 〕
To step in the Japanese-English Dictionary;
ta-i ji
face up to O
〔 to stand against ( a person or aspect )
* face up to an enemy ( = come face to face with
an enemy )
conflict
《 formal 》 ( person or thing ) stands face-to-face with
( person or thing ) to stand against ( difficulties, etc. )
( A person sees eye to eye with / confronts ( with
another person. )
* The two armies ____ing each other. 〕
ta-iketsu
confrontation
〔 ta-iketsu / confrontation ( with ) ( in court ) ta-iketsu
showdown
sa-igo no ta-i ketsu / final confrontation
confront
* confront the accused with his accuser
face off
* face off against the conservative opposition
To further look up the English words, opposition and confrontation ---
each of them is translated into Japanese as ta-iritsu and ta-iji / ta-iketsu
--- in the Oxford English-English Dictionary;
opposition
1 ~ ( to sb / sth ) the act of strngly disagreeing with sb /
sth, especially with the aim of presening sth from happen-
ing
* The army met with fierce opposition in every town.
* He spent five years in prison for his opposition to
the regime
2 the opposition the people you are competing against
in business, a competition, etc.
* He's gone to work for the opposition.
* The oppositionis / are mounting a stron challenge to
our business.
3 ( omitted )
4 〔 formal 〕 the state of being as different as possible;
two things that are as different as possible
* the opposition between good and evil
* Hi poetry is full of oppositions and contrasts.
( IDM. ) --- ( partly quoted ) ---
in opposition to sb / sth
1 disagreeing strongly with sb / sth, especially with
* the aim of preventing sth from happening
* Protest marches were held in opposition to
proposed law.
2 contrasting two people or things that are very different
* Leisure is often defined in opposition to work.
To further retrieve confrontation,
confrontation
~ ( with sb ) | ( between A and B ) a situation in which
there is an angry disagreement between people or groups
who have different opinion
* She wanted to avoid another confrontation with her
father.
* confrontation between employers and unions
Ta-i ritsu is, to refer to the meanings / explanations above quoted, meant
to be opposition, which implies competion, strong disagreement and
difference ( the state of being different ) with other divergent features
such as conflict, collision, antagonism or rivalry --- all of these phenomena
are based on difference.
In addition, it is assumed to connote ta-iji and ta-iketsu, both of which
indicate most concisely confrontation in English.
Here, let us, as a conclusion, assume ta-iritsu as opposition --- i.e.,
ta-iritsu / opposition which includes ta-iji and ta-iketsu as confrontation.
To interpret ta-iritsu / opposition in the present context of interpersonal
relationships, one takes in opposition to the other, faces uo to the other,
or confronts the other ...
To review more in detail:
On confronting the other, and insisting on one's standpoint, one attempts
to make clear that one is different from the other. It implies clarification
of self-other differentiation. It would, then, be assumed that ta-i ritsu /
opposition transcends the range of mere objection against the others ('s
standpoint ) ; and goes into that of self-other differentiation.
Along this line, what is worthy to pay attention is that we have two types
of ta-iritsu / opposition --- that is, passive and active. ' passive ' here
means ' in-active.'
Of 'passive ' type, one evades / avoids active or aggrssive opposition
against the other ; one retires or retreats into one's own personal space
--- i.e., pura-ibashi-i / privacy, and so keep distance from the other.
One makes manifest that one takes the standpoint opposing to the other,
one's attitude of opposition against the other.
Silent objection,' ' quiet resistence ' --- it could be so named, but this
kind of silent or quiet opposition / ta-i ritsu, regrettably enough, does not
seem, generally, to acquire right and proper understanding, only negative
estimation is drawn alone.
Meanwhile, the avctive type of ta-iritsu is that which shows clearly the
attitude of opposition; one who has an inclination to insist on anything ;
a self-asserting, egoistic person, or debate ; to object or to made alleg-
ation. And, even a trifle quarrel.
At the beginning, it is only a small talk, but, without notice, it develops
into a serious antagonisn --- this kind of thing does happen actually in
the ordinary world of everyday life. The opponents get too much excited,
and, eventually, turn to a quarrel. It develops into a fighting talk.
( ' uri kotoba ni ka-i kotoba ' / ' tit for tat ' )
Opposing people stiffen their attitudes to each other, making attempts
to fight back, to counterattack ord to refute.
However, we could say, ta-iritsu / opposition itself is not bad nor evil
nor wrong.
That is, if we hate, evade, or avoid ta-iritsu / opposition from there
would arise a tendency toward easy dohjoh / sympathy, easy dohkan;
doh-i / agreement.
A seeming peace-lover, a false pacific, for example.
If one dodges the other's sincere attitude of confrontation without a
thorough discussion, the situation would bring about ambiguity which
means taking the dubious way of behavior, ' ma-a, ma-a,' and, let the
situation come to smoke, and settle it down in vageness.
This kind of behavior would be just considered unworthy of praise.
According to the KOHJI-EN,
ma-a ma-a
〔《 adv. 》
➀ to some extent / fairly ( good ) mazu mazu / so so ;
passable ichi oh / somehow or other 「___ finish ｝
➁ ( used when one soothes another person ) for the
present situation ... sibaraku / for a moment
tomokaku / anyway
「____ don't say that way, ... 」 「 Ma-a ma-a-ism 」
Regarding the ' ma-a ma-a ' mode of behavior or attitude by which to
evade or avoid ta-iritsu / opposition insofar as it is concerned with the
old Japanese community where kyokan / empathy of primitive type was
alive, that kind of ambiguity / vagueness must have long supported, and
been supported by the primitive kyohkan / empathy.
However, in interpersonal relationships of modern times, it would provide
irritation, anger, frustration, etc. and and accumulate them.
Ta-i ritsu / opposition is, it is aassumed , that one manifests clearly
one's own standpoint ( of feelings and thoughts ) to the two ( selves )
in ' chi joh i ' / seeing, feeling and thinking. And, based on thisself-other
difference, one understands other's standpoint, and consequently, insight
into the other would be developed.
If this mental process is further deepened mutual undeerstanding, it would
come into being that an opening to the new world of interpersonal relation-
ships of kyohkan / empathy.
It, to emphasize, urges appearance of mature (-d) kyoukan or genuine
one.
Now, before closing the present section, allow me to review and sum-
merize all the consideration and assumptions so far made, and to attempt
as an examination of the relevance of kyohkan / empathy to.
The mature (-d) kyohkan / empathy, as already assumed, by deparing
itself from that of primitive / primary type which resides in the depend-
ent relationships of self-other indifferentiation, and passing through
jiritsu / independence and ziritsu / autonomy is established.
Jiritsu andziritsu is assumed to imply kodoku / solitude, including pura-
ivashi-i / privacy, plus ta-i ritsu / confrontation, and ta-iketsu / opposition
as its main features.
Jiritsu and ziritsu of this kind differentiate self and other, objectifying each
other and realized understanding, and consequently produces mature (-d)
kyoukan / empathy.
Without the very presupposition of jiritsu and ziritsu, it is impossible to
acquire (-d) kyohkan empathy. In this sense, jiritsu and ziritsu contain
kodoku / solitude in which privacy is predominant --- in other words,
no maturation of kyohkan / empathy is there without presence of jiritsu /
independence and ziritsu / autonomy.
Yet, it is not that ' the reverse is also true. '
That is to say, jiritsu / independence and ziritsu / autonomy, without, or
in absence of, kyohkan / empathy actually exists and can be witnessed
in the world of everyday life. It is generally the attitude of kodoku /
aloneness, suffering from unhappiness or misery where one cannot
preserve one's privacy, rhat which furnishes one a comfortable, pleasant
life of koritsu / solitude of the positive type.
It is , we could discern, just unnecessary to assume and expect mature
(-d) kyohkan / empathy anytime, anywhere in interpersonal relationships.
Nevertheless, interpersonal relationships apparently require matur(-d)
kyohkan.
How could people acquire it, then ?
It must be to specify the relevance ofto jiritsu / independence
and ziritsu / autonomy in terms of its making and manipulation.
Mature (-d) kyohkan / empathy exists between individuals and jiritsu /
independence and ziritsu / autonomy. At that moment, one, making
against another person, tries to compose and maintain inter-
personal relationships with the other.
Regarding the processes / methods by which to make, i.e., to compose
and maintain, as I have considered elsewhere on another occasion ( my
previous paper: 《 and Interpersonal Relaionships 》 ). So, for
the present, I would like to withdraw a further step to take for a more
detailed review about.
That mature (-d) kyohkan empathy requires, or it ( kyohkan )
is the very requirement forto compose and maintain.
is, to review, asssumed as ' kyori ' / distance being developed
between the partners interpersonally related, and eexpresses itself in
various forms and situations, but, characteristically, it possesses the two
main features / components : < Hodo Hodo > / moderate and < Fusoku
<div> </div> Furi > / neither ( too ) close nor ( too ) remote.
< Ma > in personal relationships works on the basis of mature (-d) kyoh-
kan / empathy, the cas which means departing from kyohkan / empathy
--- may it be retirement to kodoko / solitude ( accompanying pura-iba-
shi-i / privacy ), or ta-iritsu / opposition, the parties re-involed in kyoh-
kan / empathy, bring aboutbetween them.
Composition ofimplies the extention of kyori / distance between
them. This kind of distance would make kyohkan / empathy distorted,
if it is too much or too little --- that is, too far or too near, too distant
or too close.
In the case that one becomes too close to the other, or, converselym gets
too distant, or estranged, from the other, kyohkan / empathy would be
over-heated, or cooled down too much, so that it would be bound to ex-
tinction or disappearance.
It is, then, most appropriate to take a modest distance between the two
persons : it is to takeof < Hodo Hodo > / moderate and
Furi > / neither (too ) close nor (too) remote between them.
That is, it could be assumed, to operate and manipulate, keeping < Hodo
<div> </div> Hodo > andcould contribute to maturding of kyohkan / empathy.
All this indicates that one goes back and forth between kyohkan / em-
pathy and jiritsu / independence and ziritsu / autonomy, like a ' pendu-
lum ' phenomenon, freely and ' situation and situation.'
For one, whenever one wants, it would be possible to separate or depart
oneself from kyohkan empathy. Kyohkan is not, then, the best of all for
maintenance and development of interpersonal relationships.
Nor is it a ' panacea ' or a cure-all, as previously suggested.
Even if there were no kyohkan / empathy, insofar asjiritsu / independ-
ence, ziritsu / autonomy,and kodoku / solitude wirh pura-ibashi-i / privacy
are there to some degree, interpersonal relationships, it is quite admissible,
would be alive and survive.
It is all right, if one would not struggle hard to maintain or develop inter-
personal relationships of kyohkan / empathy type all costs. One should not
do that much, should one ?
Occasionally, one can, we might say, live in interpersonal relationships
by disconnecting kyohkan to place oneself in kodoko, i.e., solitude with
In the case one gets into kyohkan/empathy-type relationships thorough-
ly, one would have a vague feelding of appretiation that there might be
awaited a dark future with unhappiness and misery.
But, once one divorced oneself off from kyohkan / empathy, and even
interpersonal relationships thoroughly by the processes of jiritsu / inde-
pendence and ziritsu / autonomy or ta-iritsu / opposition, a new world
would, as we have indicated, appear before me.
Whether this new world may remain in kodoku / solitude, or in ta-iritsu /
opposition, or may develop to that of interpersonal relationships based on
mature (-d) kyohkan / empathy, it would be assumed, is apt to be the
matter of personal preference, personal taste, or of ideology, for example,
empathism which one adheres to.
Nevertheless, mature(-d) kyohkan / empathy acts as a kind of ' lubricant'
in interpersonal relationships : The more smoothly maintained is its proc-
ess, the more expected, it is assumed, existence and workings of matue(-d)
kyohkan.
Anyway, in this connection;
as a concluding remark, allow me to say one thing : It is that the correl-
ation of kyohkan / empathy andis paradoxical. Kyohkan / empathy
is, it is assumed, the requirement for composition / maintenance of,
and under this assumption, we dmade an attempt at clarification of dkyoh-
kan / empathy. However, in the course of this attempt, kyohkan, especially
' genuine ' one is confirmed for its maturation as based on, and profoundly
related to itself.
It is, then, that correlation of kyohkan / empathy andbears paradoxical
interdependence.
is ' ma mono. ' A goblin-like creature by human hand:
that of illusion and dellusion.
It is due to this fact that we can hardly capture, but it attracts
our attention and interest all the more.
III Appendices : Words and Phrases
relevant to Kyohkan / Empathy
i ) kyohme-i / resonance kyohse-i / co-livinh
momo no sesre
:: kyohse-i / resonance ::
Now, I would like to pick up some concepts and tems which stay a little
removed from our main these : kyohkan /empathy, yet, somehow bear
some relevance to it, and attempt to specify each of them, respectively.
First, let us start with kyohme-i.
' Many people had kyohkan / empathy with his opinion. '
' I felt kyohkan with a friend of mine. '
Regardding these utterances, it is assumed that kyohkan is almost synony-
mous to khyome-i, or could be transposed alternatively.
Then, what does it means by kyohme-i ?
To retrieve it from the KOHJI-EN;
kyohme-i
〔➀ [ phys.] ( resonance ) it is that a physical system begins
to make vibration proper to it by stimuli from outsede.
Especially, the case that the stimulus has the frequency
of vibration approximate to that of its proper vibration.
kyohshin / mutual vibration
➁ ( omitted )
➂ ( transformed ) to evoke feeling of agreement ( in
oneself with others' ideology or opinions 〕
Further, according to the International Encyclopaedia Britannica,
kyohme-i
[ resonance ]
〔 the phenomenon that amplitude rapidly increases, when
forced to be shaken by periodic, external stimuli, they
approxomate frequency of vibration proper to the system
of vibration.
( the following omitted )
Further, to turn to the Oxford Modern English-English Dictonary,
resonance
1 ( formal ) [ of sound ] the quality of being resonant
Her voice had a strange and thrilling resonance.
2 ( technical ) the sound or other VIBRATION produced
in an object by sound or VIBRATIONS of a similar
FREQUENCTY from another object
3 ( formal ) ( ina piece of writing, music, etc. ) the power
to bring images, feelings, etc. into the mind of the per-
son reading or listening; the images, etc. produced in
the way
As is VIBRATION mentioned in capital letters on the above explanation,
let us check it in the same dictionary:
vibration
1 a continuous shaking movement or feeling
* We could feel the virations from the trucks passing
outside.
* a reduction in the level of vibration in the engine
2 vibrations [ pl.] ( formal ) = VIBES
vibes
1 ( informal ) a mood or an atmosphere produced by a
particular person, thing or place
* good / bad vibes
* The vibes were'nt right.
2 = VIBRAPHONE
* a jassy vibes backing
From the above meanings / explanations, it could be assumed as an over-
all consideration that kyohme-i may be admissible to be taken to cor-
respond to ' resonance ' in English. Here it is treated: kyohmw-i / reso-
nance.
Kyohme-i / resonance is explained, and transformeed its meaning from
the physical phenomema (= vibration ) by which to come similar to tje
frequency of vibration proper to that of dexternal stimuli to that which
evokes 'doh-i no nen ' / ' thought of agreement' in one's mind.
To put it a little more specifically, it is : 「 the power to bring images,
feelings, etc. into the mind of the person reading or listening 」as cited
in the Oxford Modern English-English Dictionary.
By this process of taking into oneself the other's feelings and thoughts,
etc. one comes to have, or share, the same things with the other.
Along this sense, then, the content of kyohme-i / resonance may well
be primarily caught as doh-i / agreement.
Yet, there appears the situation that does not finish at the level of kyoh-
me-i / resonance which is assumed as equivalent to agreement. It is
that phenomenon of kyhome-i explained in the International Encyclopa-
edia Britannica : 「the amplitude of vibration rapidly increases 」
And this kind of kyohme-i / response smeeingly arises in the human
world, and interpersonal relationships as well.
For example:
' Oh, yes, yes, I see. '
Nodding easily and sympahetically to what a friend of hers to, she shows
an understanding and begins to make a long talk that she also once had
the experience similar to hers.
To this extent, in the context of interpersonal relationships, doh-i /
agreement and dohkan sharing the same feeling, even kyohkan / em-
pathy may presumably emerge. *
___________________
* With regard to doh-i and dohkan, they are
to br treated in more detail in the next section,
IV.
_________________
Or, there seems a room for them to emerg after this stage / level, a dif-
fernt one would arise therefrom. It is appearaance of an ' one-person '
show.
Moreover, she talks care easily to people around her what she has
heard from the friend of hers, adding her own fabrication to her talk.
Any longer, then, doh-i and dohkan stay there, but are gone somewhere
doomed and disappear. And so would be kyohkan / empathy.
Only that her voice sound in variation and in increasing amplitude ---
all in vain; it seems, needless to say, though.
Now, she is entirely a nuisance to people around her.
Another example ;
when alone, she is so quiet that people can hardly notice her existence.
But, when she is around with her friends, she gets much excited and
shouts in high-toned voice, makes much ado / fuss for nothing.
She seems involved too much in kyohme-i / resonance.
In thus case, it is assumed, kyohme-i /resonance surpasses dohkan
mounts to fuss fthrough odd, extra-ordinary excitment ; it is just unknow-
able what has driven her to such a situation, which would only increase
its empty amplitude.
In this connection ;
Let us, with a little leap, see aand examine gunshuh shinri / crowd psych-
ology o which kyohme-i / resonance may be admitted to take part.
To look in the Internationa Encyclopaedia Britannica, under the entry
word of gunshuh shinri, the arrow mark points ' gunahuh.'
So, to retrieve it,
gunshuh
[ crowd ]
〔 the case in which a group of people who are interested in
the object common to them gather at some certain place
tempprarily. Among these people there stimulated re-
sponse in such a way as similar to each of them, and
acquired temporarily vague feeling of ioneness ( itta-i
kan). The group of pleople under this kind of state is
called gunshuh / crowd. These people have accidental,
temporary, and emotional tie only, not permanently
organized. As the features peculiar to the mntal state
of the crowd are listed. (1) hypnotic suggestion, (2)
cruelity, emotionally such as fanatic excitement, (3)
anonymity, and (4) irresponsibility.
( the following omitted )
To further proceed to retrieve from the same encyclopaedia, gunshuh
kohkoh, the concept most relevant to gunshuh shibri / group psychol-
ogy ;
gunshuh kohdoh
[ collective behavior ]
〔 To mean that a crow makes emotional responses sil\milar-
ily to the same event, as an object of interest, which, as
a result, evokes collective behavior. The point that, differ-
ent from ta-ishuh kohdoh / mass behavior as G. le Bon
suggested, event as object of interest is accidental.
Members of collective behavior fall in loss of self-con-
trol as an individual, so that there occurs, among many
of them, psychological infection / contagion and so forth.
( the following omitted )
To scan and summarize the above quoted explanations both gunshuh
shinri / crowd psychology and gunshuh kohdoh / collective behavior
are featured by (A) interest in the same object / event, (B) emotional /
behavioral response which is the same as, or similar to the object / event,
(C) appearance of itta-i kan / feeling of oneness, and (D) emergence of
specific mental state such as hypnetic suggestion, anonymity, etc.
To re-interpret these feasures, relating them to kyome-i / resonance,
it is assumed to arise at the stages (B) and (C).
That is, interest in the object / event and emotional / response to it give
vibration among the crowd. They get engaged in shaking movement with
one another, sharing the same feelings and thoughts, which, eventually,
results in collective ( group ) infection / contagion.
There, then, would be produced itta-i kan / feeling of oneness, and if so,
a kind of kyohkan / empathy would be recognizable by it on the spot.
Such collective infection, it is assumed, expands in waves of concrete
circles, placing an object of interest as its focus where people are brought
into the (D) . Here, kyohme-i / resonance showsa phenomenon of rapid
increase in amplitude 〔 of vibration 〕.
Then, kyohme-i / resonance would be transformed into the specific state
of mind whic newly brings about the elements characteristic to it.
It would, then, surpass the level of kyome-i / resonance, and create
a monster-like atmosphere which is any longer unable to put under control.
Appearance of another different, strange world.
Therre is, it seems, the case that in the human world, kyohse-i / reso-
nance occasionally evokes drastic reaction and/or excitement in which
people are liable to get themselves engulfed, and to become monstrous.
:: kyohs-i / co-living ::
It is not long ago that people began to talk about " return to Nature."
Life at a mountain village or at a seashore ... It is a recent movement
by which to realize a longing for such a natural or Nature-oriented way
of life.
It is ' sizen to no kyohse-i ' or 'co-living with Nature.'
Many attemps and practices of conquering Nature were made where the
sense of kyohse-i / co-living with Nature was lost in sight,or just dead.
But, now, it seems, it's time of revival.
Commiting oneself to the changes as Nature reveals itself, or as it goes,
and never trying to control Nature or acting againsti it --- these ways
of life become an object of admiration and respect by many people.
' Sizen tono kyohse-i ' / co-living with Nature without kyohkan / empathy,
or in its absence implies that Nature and humans exist only adjoining to
each other ; it is that as if a human inhibits alone within the framework of
Nature.
Yet, there is no need of troubling oneself for ' return to Nature' by going
to a countryside or a seashore to live there and to attain 'sizen to no
kyohse-i ' / co-living with Natue. That is to say, it is simply possible to
co-live with Nature only by contact with ' a little nature ' nearby you.
Allow me, then, to describe my personal experience, here.
I uaed to enjoy soaking myself quietly and alone in ' a little nature ' ---
the wild grass of the hillside behind my home.
At the beginning, I heard sounds and resonance of many things ---
hummings of bugs, twitters of birds suffocating smell of wild grass,
and bright sunshine, etc. all of which stimulated my five senses, and
I, usually, fell into a state of dizzy excitement.
After a while, the surrounding world around me came to be felt vague,
and soon, self-other differentiation began to disappear. Soaking myself in
nature, it seemed, provoked relaxation, and sharp difference between self
and other, that is, myself and nature was dissolved.
It was the moment when I felt as if I became part of Nature. It was a
strange, but wonderful flow of time which, it made me think, humans had
once in immemorial days probaly lived and experienced.
My experience at the hillside must have been that of ' sizen to no kyoh-
se-i ' / co-living with Nature orkyohkan empathy with a nature.
It was to tune the breathing of nature with mine, breathing in the same
tone and rhythm, and to keep staying there, to sense and accept nature
as it is there.
It was exactly fusion with Nature.
It was a feeling as if I became one with Nature, or experience itta-i kan /
feeling of oneness with Nature, and I dused to feel wrapped by that
feeling of oneness.
The more I take that kind of breathing, it may be easily imagined, the
more deepened experience is with kyohse-i / co-living with Nature, and
the longer would I want to stay there --- but, strange enough, this
kind of experience did not last long ; it always ended in a short time.
If I remained there, though it is in ' a little nature,' forever, I was afraid,
I might brcome like a grass, or a stone of the hillside, and ultimately, into
fossile. The desire to exist as a living human seemed to raise its head, and
awakend me from my drowse in Nature, I used to hurry home from the
hillside.
Sizen to no kyohse-i / co-livig with Nature is, however temporary, or short-
lived it may be, it seems to give some wonderful vitality and enthusiasm to
to life. But still, Nature as it is or somewhat so severe and hard to get
along with or to co-live.
For example, a pond, it happens, produces a gloomy and dismal atomo-
sphere, humid and smells muddly. And even old spider's web torn on the
branch of a tree.
It seems to makeus feel more comfortable in Nature where the human
hand is added a little --- ' a little ' it must be so emphazied, though:
the path in a wood, which looks like a natural, but, actually, a slope
of loose steps made by the human hands with natural stones. A reservoir
which which looks like a pond, a nature-made one.
These are the cases for humans quite favorable , but for aminals and
plants how do they appear, I wonder.
Would it be that they can inhabit / live in more comfort and co-live with
Nature, without artificial processing by the human hands.
At timess, it seems to happen ecological diversity is observed in Nature
which is artificially preserved rather than that left untouched, or as it is,
or it goes its course.
Sizen to no kyohse-i / co-living with Nature is found in this ' a little '
kind of relevance to Nature --- that is, artificially processed level of
Nature.
Needless to say, it should be ' a little.'
Destruction of the environmentis in no sense permissible. If so, sizen to
no kyohse-i / co-living with Nature would be threatened by, and involved
in, the danger of extinction.
The heart of co-living with Nature resides in admiration and adoration to
Nature. Without this attitude, people could have no experience of sizen
to no kyose-i.
Arrogance or false human self-pride against Nature is just a taboo ; it
must be inhibited. Profanity to Nature does not accord with co-living with
Nature.
The atmosphere of admiration, adoration, veneration which is aroused
in encounter with Nature, that is, co-living with Nature, could be recognized
in the Japanese spirit of ' mono no aware.'
What is ' mono no aware ' ?
In the following, let us explore into this subject matter.
:: mono no aware ::
To retrieve the phrasse, ' mono no aware ' from the Japanse-English
Dictionary, it is simply explained as pathos / pehsosu, a-i kan / feeling
of sadness.
So, I proceed, in trying to know about paths, to the Oxford Modern
English-English Dictionary,
pathos
( in writing, speech and plays ) the power of a performance,
description, etc. to produce feelings of sadness and sym-
pathy
As it seems, in Japanese culture, to connote the content / meanings by
far profund than the above English explanation, let me go back to the
KOHJI-EN;
mono no aware
〔➀ th central idea / ideology in the Era of He-i-an ( from
about the 8th century to 12th ) of literature and aristo-
cratic life which produced that ( idea / ideology ).
Moto-ori, Norinaga ( the scholar of Edo Era who studied
the ancient Japanese thought and culture ) pointed it
through ( the study of ) Genji Monogatari / The Tale
of Genji. It is the world of harmonied emotion / sentiment
which arises from the consensus of ' mono,' that is, ta-i
shoh kyakkan / object of cognition, and ' aware,' that
is, kanjoh shukan / feeling subject. Ideas of yuhbi /
elegance, sense-i / delicacy, chinse-i / tranquility, and
kansho / contempalation.
② Quite, heartily joh shuh / sentimental taste which one
feels when one touches kibi / subtleties and hakanasa /
fragility of life.
「 to see /feel ___ 」
To go on further the International Encyclopaedia Britannica,
mono no aware
〔 The philosophy of beauty in the literature and life of the
He-i-an Era. Essencially, it means the sentimentlal im-
pressions stirred by mono ( object ) in the heart of people.
It consits of the motif based on the pathos coming from
the difficulties of life, and established when the feeling
subject has kyohkan ( Empathy ) with human events and
the matters of the natural world, and becomes aware of
harmony between object and subject. 〕
( the following omitted )
According to the above explanations, ' mono no aware,' or in a single word,
pathos, it is conceived, implies ' mono ' to be object ( of cognition ) such as
human events and the natural one.
On the other hand, ' aware ' is the atmosphere of pathos which emerres
from emotional / sentimental harmony between object ( of cognition )
and feeling subject, or one's kyohkan empathy with Nature, is provoded by
the world of sentiments and taste.
The basic ideas in this context is that people engaged in harmony with
Nature --- or to become one (itta-i) with Nature. In this kind of har-
mony are their feelings of admiration, adoration and veneration to Nature
rooted / originated, couplintg with thei beauty-consciousness of elegance,
delicacy, tranquility, and contemplation, consequently transformed into
the quiet atmosphere of ' sadness and sympathy ' --- i.e., pathos.
To put it another way, it sould not be overslooked tat this sentimental
life of pathos called ' mono no aware ' is essentially constituted from
' sizen tono kyohse-i ' / co-living with Nature --- that is to say, kyoh-
kan / empathy with Nature.
ii) dohjoh; dohkan; doh-i; dohchoh
Here, at thepresent section those words / terms that we have already
touched in the previous one, but no detailed clarification of them, espe-
cially in terms of difference and similarity, is attained.
The main point for the present is to put into figure their differnces
and similarities with relevance to kyohkan / empathy, making clear the
characteristic features each of them.
Firstly, let me take up dohjoh.
:: dohjoh ::
In the KOHJI-EN, under the entry work, kyohkan, there mentionedat
the beginning of its explanation as a Japanese dtranslation of English word,
sympathy.
Hence, to retrieve sympathy from the English-Japanese Dictionary;
sympathy
〔【 original : tomo ni / with (sym ) kurusimu / to suffer
( path ) koto (y) 】
〔❶ dohjoh omo-iyari / considerateness ( from, with,
toward person・thing ); [ ~ ies ] kuyami / condolence
《 has no intention to look down other people : cf. pity》
( antipathy ) 〕
* a letter of sympathy
* You have my sympathies
* help them not out of pity but out of sympathy
for plight
〔❷ ( with person・opinion, etc. ) kyohkan /empathy
kyoh me-i / resonance [ ~ie ] doj-i / agree-
ment shiji / support shiren / backup ( for, with ) 〕
* I have some sympathy for your ideas.
* My sympathies are ( lie ) with studends
on this matter.
Explanation ❶ of sympathy starts with dohjoh, not kyohkan .
So, to return to the KOHJI-EN, and look it ( dohjoh ) up;
dohjoh
〔 That one feels together with the other's feelings, particul-
arly, such as suffering, and unhappiness, putting oneself
in the other's standpoint. 〕
Further, to consult the Japanese-Enlish Dictionary;
dohjoh
sympathy
〔❶ ( of person, thing ) dohjoh omoiyari / considerateness
( for, with ) kuyami / condolence 《 imply no intention
to look down other people pity 》 〕
* be moved by sympathy
* I felt real sympathy.
* You have my sincerest ( most sincere ) sympathy
* He did not utter a single word of sympathy
compassion
omo-iyari / considerateness ( with a deep feeling to help
other people ) dohjoh awaremi / mercy
pity
awaremi / mercy dohjoh
To go on to the English-Japanese Dictionary to retrieve pity from there;
pity
〔 awaremi ( mercy ) [ to ... ] dohjoh [ for, on ]
《 ＋ often imply the feeling to look down other people:
sympathy on equal terms with others 》 〕
* out of pity
* She felt no pity for ( had no pity on ) him.
* The news aroused everyone's pity.
* I do not want any of your pit.
〔❷ zanmen na koto / being sorrowful kuyashi-i /
to feel chagrin of the casuse of dohjoh ikan /
regret ( shame ) 〕
* a great pity
* That's a pity.
* The pity ( of it ) was that he dmissed his prime
years through injury.
To scan the above quoted meanings / explanations of dohjoh and sym-
pathy, it may be more appropriate to assume that the Japanese transl-
ation of dohjoh be settled down on sympathy as such rather sympathy
as a trnslation of kyohkan.
Hence, let us assume, tentatively though, dohjoh as sympathy.
Incidentally, ' sym ' of sympathy is ' syn.'
To examine it in the English-Japanese Dictionary;
syn-
〔( attached to Greek-original word )
tomo ni / with dohji ni / simultaneous ru-iji / similar-
ity 〕
Regarding 'syn,' it seems to imply, intermingly and a little complicatedly,
two different kinds of meaning : ' ( together ) with ' and ' simultaneity/
similarity ' by which, eventually, is produced from sympathy two different-
ly coined words of translation : kyohkan / empathy and dohjoh / sym-
pathy.
Moreover, the explanation cited about each of the words shows the char-
cterics of ' two sides of the same coin.'
Now, turn turn to our subject;
kyohkan / empathy means, as already described, for one to feel or under-
stand the other, experiencing 〔 entirely in the same way as the other does 〕
( quoted from the KOHJI-EN ). On the other hand, dohjoh / sympathy is
that one feels together with the 0other's emotionas, particulary, sufferings
unhappiness etc., putting oneself in the other ( quoted from the KOHJI-
EN.
To consider this way, both kyohkan / empathy and dohjoh / sympathy
are equivalent in meaning, and so, difficult to find out any positive differ-
ence between the two ; nevertheless, it cannot be denied an impression
that they differ somewhere --- in nuance, for example.
That is to say, compared with kyohkan, dohjoh is assumed to be more
emotionally or sentimentally commited, or involed. On occasion, this
kind of emotion evokes actually or ' in nuance ' awaremi --- i.e., feel-
ing of ' pity ' ; owing to this impression which makes people feel too senti-
mental, dohjoh, it seems, shows a tendency, or has the misfortune, to be
taken such misunderstanding as thoughtless pity.
' Don't be so dohjoh teki / sympathetic to me ! '
Pity, to be sure, is related to mercy which seems to irritate some people,
the reason can be understood, if refered to the meaning of ' pity ' cited
in the English-Japanese Dictionary.
Why is dohjoh so ?
It is just because dohjoh of this kind is felt to be a mere ' formal greet-
ing ' --- without heart or inconsiderateness ; to be ' heartless ' can be
said that it lacks, or is insufficient of, the heart by which to see and feel
as the other does, standing on the other's viewpoint, or putting oneself
in the other's shoes.
The real value of dohjho / sympathy is to feel together with others, itta-
i kan / feeling of oneness which leads to kyohkan / empathy, more specific-
lly, the passive tohsha / introjective type of kanjoh inyuh / transfusion of
feeling.
If one senses and accepts in one's mind, the mind, or the mental states,
of the other, one and the other, then, becomes one in mind could develop
' heart by heart ' communication which would convey one's real feeling /
thought. As a result, they are equivalent in meaning and difficult to find
out any positive difference between the two ; nevertheless, it cannot be
denied that they differ somewhere --- in nuance, for example.
That is to say, compared with kyohkan / empathy, dohjoh / sympathy
is more emotionally commitment or more sentimental.
Japanese coinage of ' sympathy ' is narrowly translated, and so the sec-
ond choice of its exsplanation ❷ ( by the English-Japanese Dictionary )
should be excluded ; and, instead, dbe replaced in it the mentally / cul-
of Japanese people. It implies that the focus is to feel, or to be sentitive
to, other people's emotiona part of mind, esspecially their sad ord unhappy
feelings --- in other words, their emotional commiment / involvement
with one of the Japanese four expression of human emotion / feeling, i.e,
' a-i / sorrow, ' of ' ki, do, a-i, raku ' / ' joy, anger, sorrow, and pleasure.'
Criticism at thoughles, easy dohkan to be a ' mere formal greeting ' with-
out heart would get dissoled.
To repeat again, dohjoh / sympathy and kyohkan / empathy share the
origin / root. Dohjoh is emtional / sentimental than kyohkan / empathy
and, it seems, limitedly takes charge of the negative part of mental state
such as sorrow and unhappiness.
Accordingly, this negative, gloomy mood or nuance which dihjoh dis-
charges is felt loathsome and, so intentionally avoided.
There are not a few cases to be seen where dohjoh must be replaced
by the concept / word of kyohkan / empathy.
Does this kind of occur because of modern people's self-pride, and/or
considerateness to warmly think of others ?
Hopefully, I would like to understand so.
:: dohkan ::
A literal translation of this word, dohkan, into English is : 〔 to have 〕
the same feeling / thought / idea, ord to share a feeling / thought / idea
with other people.
According to the KOHJI-EN;
dohkan
〔 to feel as the same as others feel ( to have ) the same
thought ( as )
「 I entirely ____ 」 「I ____ my friend 」
To proceed to examine dohkan in the Japanese-English Dictionary, I
could not find the English word corresponding to dohkan. Instead, a
list of sample sentences was there. To quote them;
dohkan
* I quite 〔 totally 〕 agree with you in that regard.
* " What a lovely scene ! "
" I think so, too. " 「" I agree with you. " 」
* You can say that again.
As the word, agree, is applied twice in describing dohkan so I look it up
in the English-Dictionary;
agree
〔【 the original: to direct to (a ) gree to ... → to reach
goh-i / mutual agreement, to make a consensus of
pinion 】
❶ ( A person ) has consensus of opinion with (another
person ) to show an attitude of approval to ( a person,
idea, opinion, explanation, etc. ) 〕
* completely ( entirely ) agree with him
* I could'nt agree with you more.
* I agree with your argument ( opinion ) on this
point . = We (not I ) agree on this point.
❷ 〔 doh-i suru / to agree sanse-i suru / to approve
ohjiru / to rely ; to resond 〕
* I see your point, but I can't say I agree.
* I agree to his proposal (plan).
* I agreed with him about using the car, but couldn't
agree to his taking it for a week.
( the following omitted )
Refering to the above meanings, ' agree ' is primarily explained as ' con-
census of opinion ' and ' approval of opinion.' To this extent, the word,
' agree ' is assumed to be doubled with dou-i, which I would like to treat
next.
The point to be stressed here is that consensus and approval is likely
to be focused exclusively on the mental state of thought such as opinion,
idea, intention, viewpoint, etc. rather than of emtion and feeling.
In this connection, I returned to the KOHJI-EN to make certain that
dohkan is interpreted --- translated freely and personally by the pres-
sent writer, though --- as meaning ' to have the same feeling as othes
do,' or ' to share the same feeling.'
What is most pointed out is, ' doh ' of dohkan means ' same,' ' kan '
means ' feeeling. '
This type of ' feeling, ' it seems, as already indicated, to mean more than
the emotional / feeling part of the mind. It comes nearer or approximates
to, that of thought and cognition --- more specially, ' opinion ' ( of ' con-
sensus of opinion ' ).
And, moreover, the ' same ' of ' the same feeling ' doesnot mean, as in
the case of kyohkan / empathy, to cover itta-i kan / feeling of oneness by
which one ' becomes one (-ness ) with ' the other. Rather, it ( ' the same
feeling ' ) seems to be remained at a more superficial level of the mind.
However, if given a consensus and mutual approval of the same feeling
and, consequently, produced itta-i kan, it would naturally considered that
dohkan retains at its bottm kyohkan / empathy.
To take up the expression, ' dohkan simasu 〔 I sincerely agree with
you 〕, ' for xample.
There would be assumed kyohkan to be working, or must be so.
Actually, in the colloqual conversation of daily life, it is often and better
replaced in the expression, ' Fukaku dohjoh simasu ' / 〔 ' You have my
sincerest sympathy.' 〕
In this case, it seems that kyohkan / empathy underlies in dohkan (
dohjoh as well ).
A note to mark :
If anything, ' kan ' of dohkan signifies 'sense ' of the five senses.
Sensing something with the five senses gives, then, less emtional, less
sentimental impression : It means that the emotional / sentimental attach-
ment or comittment is assumed not to so deep nor strong as dohjoh.
Impartial to emotion of sorrow or detached feeling of distance might well
be pointed.
Incidentally;
' Heart ' --- to review it once more in the English-Japanese Dictionary
( partly quoted ) ;
heart
❶ ( omitted )
❷ 〔 a) kokoro / heart ( in which reside human emotions
such as ki, do, a-i, raku / joy, anger, sorrow, and
pleasure, etc. ) 《 kokoro which resides in intelligence
and reason is mind, and kokoro which resides in
tamashi-i is soul 》 emtion, feeling, spirit ; tamashi-i /
spirit 《 Adjective is hearty and cordial. 》
To pick up briefly, heart as kokoro is connected with emotions / feelings
such as ' ki,do, a-i, raku ' as ' mind ' with intelligence and intension.
Dohkan, along with this line of interpretation, it seems to reside in the
sphere of ' mind,' i.e., intelligence and intention or thought, but it still
belongs to that of emotions / feelings.
Dohkan is, it could be assumed ) closer to mind ( =than intention /
thought ) than dohjoh / sympathy ( connected with emotions of sorrow,
grief, and sadness, etc. ) so that it (dohkan ) takes an intermingled
form.
Dohkan, as a conclusion, is assdumed to have, or share the same feeling
with other people, but this ' feeling ' with a little more coloration of ' mind '
in the above sense rather than dohjoh / sympathy.
In everyday life of Japan, there are the cases in which kyohkan / empathy
takes away the place of dohkan. It is because the impression of emotional
coldness dohkan gives is fittable to the mentality / sentiments of Japanese
people. Otherwise, there would not be the cases where, in order to express
their deep thinking of, or involvement in, dohkan, kyohkan appears in
recent years likely to employed and used more frequently than dohkan.
::: doh-i :::
What / how is doh-i in relevance to kyohkan / empathy ?
Doh-i, it seems, departs from kyohkan / empathy further than dohkan
To retrieve the word in the KOHJI-EN,
doh-i
〔 ➀ the same meaning
➁ the same opinion the same intention / thought
➂ to agree / approve other people's opinion
「to ___ a plan 」 「 to get____ 」
To consult the Japanese-English Dictionary,
doh-i
agreement
doh-i ( with ) goh-i / mutual agreement
assent
doh-i ( to ... ) sandoh / approval ; consent shohdaku /
acceptance ; consent ( to )
consent
doh-i
approval
To take a jump to the Oxford Modern English-English Dictionary, agree-
ment, as it is described at the top of the meaning-list of doh-i, goesf
as follows :
agreement
1 ( omitted )
2 the state of sharing the same opinion ord feeling
* Are we in agreement about the price ?
* The two sides failed to reach agreement.
3 the fact of sb approving of sth and allowing it to happen
* You'll have to get your parents' agreement if you
want to go on the trip.
4 ( omitted )
So, scanning reshuffling the above quoted meanings and sample sentences
of doh-i, and agreement, it could be fairly easily assumed that doh-i,
approximately fits agreement. Let us, then, treat doh-i as agreement or
doh-i / agreement.
Doh-i / agreement implies to share between or among people, that is,
with other people, especially, the same opinion, idea, thought, etc.
Doh-i / agreement, before everything, signifies consensus of opinion,
but, in this connection, still otherd elelemt must be added to it : it is
approval.
' This rose is really pretty! '
' Yes, I think so, too. ' ( = I agree with You. )
It is that one not only observe the pretty rose, but, expresses one's
opinion to the other, and the other, in turn, makes an approval to what
one has spoken out ( one's opinion ).
Doh-i / agreement can be assumed to be a unity of consensus of opinion
between the two people ( one and the other ), and the approval of the
other.
How about its relevance to kyohkan / empathy, then ?
Doh-i, it seems, becomes more and more departed, or detacjed, from
kyohkan / empathy.
There is the cas that one shares opinion with the other through consen-
sus and approval, it motivates them ( one and the other ) to get well
together, and come to feel ' becoming one (-ness ). ' Then, this feeling
of oneness would possibly develop kyohkan between the two.
The kind of thing does happen in interpersonal reslationships, but it
is something that happens subsequent to dohkan agreement ; sharding
the same feeling --- that is, as a result of the process of dohkan.
For doh-i / areement, kyohkan / empathy is not assumed to be indispens-
able; it suppresses itsd feeling / emotional aspect of the mental state more
than dohkan, and, conversely, sharing the same feeling predominates
over that of intelligence and intention. To this extent, doh-i, removes
far from kyohkan than dohkan.
::: dohchoh :::
Lastly, let us examine and considerds dohchoh.
To retrieve this word from the KOHJIEN,
doh choh
➀ chohshi / tone being the same
➁ to match tone with other (s) to harmonize one's
opinion with others' insistence
➂ ( omitted )
In the world of interpersonal relationships, emphasis of dohjoh must
be put on the same (-ness) of tone ( of behavior ), and/or harmony with
other people ('s instances or opinion ).
In order to express this situation more sspecifically, then, it seems
worthy to note that dohchoh carries with itself concrete behavior.
And, in this connection, to further go on to the related word, dohcho se-i
and to look it up in the KOHJI-EN,
dohchoh
〔 a tendency in social life to take the pattern of behavior
similar to that of people around one ( sb ) 〕
In the International Encyclopaedia Britannica, dohchoh se-i is explained
as ;
dohchoh se-i
〔 to take a behavior or attitude which accords with, or is
similar to, the behavior, attitude, group standards, norms,
etc. of which a majority of people in a group show by
mutual consent 〕
According to the explanations above quoted of dohchoh, it could be inter-
preted that similarity of behavior taken by people is emphasize and such
behavior ranges from consent of behavior / consensus of opinion to their
accordance with group standards and norms.
Next, to further pick up the related word, dohcho sha, let me take a
little leap to its origfinal English word --- i.e., sympathizer.
To consult the Oxford Modern English-English Dictionary,
sympathizer
a person who supports or approves of sb / sth, especially
political cause or party
To consult, further, the English-Japanese Dictionary,
sympathizer
〔➀ dohchoh sha / sympathizer
➁ kyohme-i sha / friend ; sympathizer siji sha /
supporter sinpa / sympathizer
In trying to retrieve the second choice of meaning, siji sha, from the
KOHJI-EN, wecould not find it as an entry word, but only its verb, siji.
siji
〔➀ to support to support and hold on
「 ___ security of the nation 」
➁ to agree and approve the other people's ideology,
political opinion, etcd., and give help to them
「 the party to ____」 「 _____ sha /- er」
And, relevant to simpa (-sasa-izah )
simpas-izah
【 sympathizer 】
〔 dohchoh sha / sympathizer kyohme-i sha especially
person who does not participate directly in a leftist move-
ment, etc. but supports and help it 〕
The criteria for interpreting the meaning of dohchoh sha / sympathizer
stands on ' concrete behavior ' of dohchoh. That is, it is not only re-
lated to whether or not to support and help, but, to whether or not to
practically participate in, or to refrain from, the people / movements to
be, or in, sympathizing.
As the above interpretation, it seems, is partial, and a little too incom-
prehensible; so, to put it more briefly, it is that dohchoh sha as well as
dohchoh implies ' consensus of opinion ' accompanied by ' concrete be-
havior ' ( or occasionlly, not ).
Someone looks up in the sky, for example, other people watching him
participate in, or join, him, his behavior. This kind of joining behavior,
which is assumed to be motivated out of curiosity, and share the same
situation, shows dohchoh which accompanies concrete behavior ( of
body ).
It implies mo-hooh / imitation --- 〔 to take behavior similar to, or
identical with, others 〕( partly quoted from the KOHJI-EN ) --- and,
can also be regareded as dohchoh of our understanding.
Consequently, we could say, dohchoh possesses a coloration of more
or other than dohjoh / sympathy. That is to say, dohchoh is arranged in an
order ( by sign inequality ) of emotion ( pathos ) < concensus of opinion <
<div> </div> concrete behavior. And emphasis is put on the dlast moment.
To return to examination on kyohkan / emphthy along with this line,
there seems no chance for it to appear, or to show itself, as in the case
of dohkan or doh-i that ktohkan empathy could exist and survive.
However, it must be noticed that when it comes to dohchoh sha / sym-
pathizer, we could easily find kyohkan empathy among and within the.
In this connection,
going into a little slide, let me take up social psychlogical concept, dohchoh
kohdoh --- because Japanese-translated word, dohchoh, of both words,
dohchoh ( sha ) and dohchoh kohdoh is identical in its Chinese-character
meaning, but, in English, it being different, so it made me think it may
be necessary to clarify the content of, and difference in them.
To consult the International Encyclopaedia Britannica,
dohchoh kohdoh
【 comforming behavior 】
〔 It is the pattern of behavior which accords with ( / con-
cents to ) group norms, conventions, responses other
people, and is a form of adaptation humans bradly take.
The more stabled a society becomes, the more general-
ised becomes dohcho kohdoh. 〕
( the following omitted )
According to the above explanation, dohchoh kohdoh means 「the pat-
tern of behavior which accords with group norms, conventions, and re-
ponses of other people.」 Dohchoh ( kohdoh ) in thisd sense is apparently
different from that of dohchoh ( sha ).
Dohchoh in our present sense points to the mental phenomenon or
process which is placed on the line extended from dhojoh / sympathy,
rather than conforming, and it seems hard to find close relevance to
kyohkan / empathy.
We have so far made an attempt at examination of four words: dohjoh,
dohkan, doh-i and dohchoh. To roughly recapture them, dohjoh / sym-
pathy, it is assumed, is sharing with other people the same ord similar
feeling of oneness / itta-i kan attached by a special kind of sentiment
( pathos ).
Dohkan / agreement implies the sameness of feelings, and sharing it
with other people, without, or in absense of, itta-i kan / feeling of one-
ness. But with agreement --- which is a necessary requirement.
Doh-i : It is agreement with consensus of opinion, thought, etc. and
approval of it. However, emotional involvement or attachment is more
shallow, aaand so more detached.
Dohchoh : It is meant to be in the same chohshi ( /tone; rhythm ), to
harmonize with other people, to sympathize, and to agree / to conform.
To put in order these four words on the line of kyohkan / empathy taking
it as their axis, it goes: dohjoh -- dohkan -- doh-i -- dohchoh.
On moving toward the left side of the kyohkan / empathy line, emotion-
al involvement increases, meanwhile, to the right, emotionally or senti-
mentality becomes weakened, shallow and flat, and, at the same time,
moves away from kyohkan, with regards to its being necessity to each of
them is taken into consideration.
In the everyday world of interpersonal relationships it frequently appears
the three words listed toward the right to be activated by kyohkan / em-
pathy, and, moreover, on occasion these words are used in confusion and
intermingled in colloquial usage, and replaced by kyohkan.
It is so because the impression / atmosphere conceivably gives people
feel somewhat more humane than other related ones.
People seem to find something comfortable --- i.e., comfort in getting
together with others; In these days, it appears kyohkan / empathy and
the mental situations eexpressed by the particulars word tend to be over-
flown, and we are inclined to be fed up, though ...
iii) Wa shite, dohzezu Zeze fifi Fuwa ra-idoh
Yaji-uma Ugoh no shuh ::
:: ' Wa shite, doh zezu ' /
to harmonize, but not to conform ::
Lastly, allow me to take up the Japanese proverb originated from Rong /
Lun Yu ( Analects of Confucius, the ancient Chinese philosopher ) ---
i.e., < Wa shite, doh zezu > .
An interpretation to be made hereafter about the above proverb might
be very personal and arbitrary, or unnecessary and absurd, though,
please take a look into it, if you have time to spare.
First of all, to retrieve from the KOHJI-EN,
wa shite doh zezu
〔Rong / Lun Yu ; Si ro / Zi lu ( one of Confucious' disciples )
「Kunshi ha, wa shite doh zezu, shohjin ha doh si-te wa
se zu. 」 〔 Kunshi / great person harmonizes or sympathizes
with, but does not conform to, ( other people ), meanwhile,
shohjin / small person conforms to, but does not harmonizes
shohjin / small person comforms to, but does not harmonizes
or sympathizes with, others.
It means that if one shares the same opinion with others,
one will be cooperative or harmonious with others, but
does not compromise with flattery. 〕
According to the Koji, Kotowaza, & Yoji-Jukugo Jiten,*
____________________
* The Dictionary of the Ancient Historical Facts,
Proverbs, and Idioms of four Chinese charac-
ters ( installed in my electric dictionary ( op.
cit. )
____________________
washite, dohzezu
〔[meaning ] It is that one gets along well with other
people, yet does not conform to what is considered
nreasonable.
[ interpretation] ( omitted )
To proceed to look into the Nihongo no Johsiki・Hi-johsiki *
____________________
* The Dictionary of Common knowledge and
Non-Common Knowledge of Japanese langu-
age; it is installed in my Sharp Electric
Dictionary ( op. cit).
___________________
wa shite, do zezu
〔 One cooperates with others without battle, but does not
uselessly compromise over, or comform to, the unreason-
able, to that which does not make sense.
[original ] Rong Lun yu reads that kunshi / great person
gets harmonized with others, yet, not dthat one loses one's
shuta-i se-i ( / subjectivity ), or self-deternination. Shoh
jin / small person follows others without much consider-
ation, does not harmonize with them. It is the Confucious'
teaching which tells the difference between kunshi and shoh
jin. 〕
To scoop from the above quoted meanings / explanations of ' wa,' they
could be listed as follow;
* kyohchoh / to be cooperative ; cooperation
* to tune with
* to get along well with
* to have a good contact
* chohwa / harmony
Taking up the first signification of the list, kyohchoh / to be cooperative ;
cooperation, let us examine it in the KOHJI-EN,
kyohchoh
〔( meaning of kyohdoh ; chohwa / cooperation ; harmony )
➀ It is that the parties opposing in their interest attempt
together to solve the problem between them peacefully.
「 Roh shi / labor- management ___ 」 「 kokusa-i /
international ____」
➁ That the parties with different character and opinion try to
attain a harmony, conceding to each other.
「 ____ se-i ni kakeru / lack of ____ 」
➂ [ phys. ] That the parts constituting as organism display
sctivities in keeping adjustment with each other.
kyohchoh / mutual adjustment
To try to grasp from the above quotation, kyohchoh / cooperation could
be seen to fit the second choice of explanation ➁. It is: ' to be in har-
mony ( with ) .'
Accordingly, and, to put it briefly, ' wa' means kyohchoh / harmoney.
And, it is assumed, connoted, connoted in it are ' to tune with each
other,' ' to get along well with each other,' and / or ' to have a good
contact.'
Further, in this connection, to examine the meaning of ' wa ' itself
in the KOHJI-EN,
wa
➀ to get along well with
「 ___ wo musubu / to unite ____ 」
➁ ( omitted )
➂ ( omitted )
A it is too simple an explanation, I took a courage to date back to Shoh-
toku Ta-ishi ( the distinguished prince of the Asuka Era of Japan), and
his statement : < Wa wo motte tohtoshi to nasu. >
To consult KOHJI-EN,
Wa wo motte tohtoshi to nasu
〔 ( well-known as the First article of the Constitution made
by Shohtoku Ta-ishi ) it means that harmony with other
people is most precious. 〕
To refer to the Koji, Kotowaza, & Yoji-Jukugo Jiten,
wa wo motte sohtoshi to nasu
〔 [ meaning ] It is that getting along well with other people
is surely most precious in this world. 〕
( the following omitted )
' Wa ' is, it would be concluded, that it is interpreted as getting along
well with other people, which implies chohwa / harmony. Just for con-
formation of what it ( chohwa ) means, let us go back again to the KOHJI-
EN,
chohwa
〔 that it is well balanced and totally coordinated Several
are moderate with one another without contradiction.
「 the furniture which are ___ with a room 」
「 ____ ga toreru / to be in ( with ) ___ 」 〕
The above explanation of chohwa, puts stress on balance / coordination,
but, for this very reason, it seems, it steps out of the present concern,
so to proceed to the Japanese-English Dictionary;
chohwa
harmony
〔 《 harmony 》 ( about action, thought, feeling etc. )
wa ichi / consensus wagoh / unity ( with / between )
hahmoni-i / harmony chohwa ( of sound ・color, )
balance ( in the whole )
* be in ( out of ) harmony ( with ... ) 〕
balance
〔 kinkoh / proportion ( of weight, force, etc. ) tsuri-a-i /
equilibrium baransu / balance ochitsuki / coubtenance
he-ise-i / quitetness ( of the ) ( aesthetic ) chohwa /
harmony
* the balance of nature
Harmony is, if free translation is permitted, assumed as implying, par-
ticularly, consensus of the above explanation among proportion,balance,
consensus, and unity.
Consensus between one's feelings and thoughts and the other's outweighs
balance of things. That is to say concensus of the present sense indicates
the interpersonal context in which one sees, feels, and thinks as others
do ; it overlaps the primary component of hyohkan / empathy, i.e.,
itta-i kan / feeling of oneness.
To recapture this line with a leap, chohwa / harmony connoted in ' wa '
is linked to kyojkan / empathy, and kyohkan, in turn, becomes the im-
port element to consitute the basis / substratum of ' wa,' and activate it.
The essence of ' wa ' is ultimately nothing but kyohkan / empathy ---
we might well say so.
Accordingly, it is that to have ' wa ' is to have kyohkan / empathy or
' wa ' --- harmony and ' to get well together with ' are its essentials
just to be sure --- without kyohkan is hard to call it as a genuine kind,
or ' wa.'
It must be dohchoh / conformity of shallow, surperficial kind.
All would fall into the very situation : < doh si te, wa zezu >.
What is it meant by this, then ?
In order to make it clear, I would move to the latter part of the phrase,
' doh zezu ' / not to conform nor agree.
To extract and list the meaning of doh of ' doh zezu,' referring to the
explantions previously quoted from several dictionaries, it goes as follows :
* to share the same feeling / doh (- kan )
* to have the same opinion / doh (-i ) ; to agree
* to have the same tone ; to match tone with / doh (-choh);
to conform to
* to compromise
Although we took a labor to specification of the content of ' doh,' here,
in the present context, it seems necessary to put stress nobut on the con-
text as such, but to ' zezu ' or ' do not. ' That is, to the negative part
of the ' doh zezu ' phrase.
In the connection it should be also stressed that if there exit exclusively
' wa ' and kyohkan / empathy an individual ( self ) would die or be thre-
atened to, or face with, extinction.
All of this means that one should not lose one's shuta-i se-i / subjectivity:
self-determination. To repeat, ' doh zesu ' / not to conform to is neces-
sarily included shuta-i se-i of an individual ( self ).
To insist on one's own opinion ; to persist in saying what one believes
right ; to make one's viewpoint clear ... --- these kinds of insistence,
if made in a good and proper sense, would be, or should be, supported.
It is because it depends on jiritsu / independence and ziritsu / autonomy
implying kodoku / solitude with privacy, and ta-iritsu / opposition that
become the moment for composition of ' doh zezu ' / not to conform.
In this connection, allow me to take up the idea of < zeze fifi >.
:: zeze fifi / to judge impartially ::
To retrieve it from the KOHJI-EN,,
zeze fifi
〔 [ Shun si ( shuh sin / morl education ) to judge what is
good is good, and what is wrong, depending on a thing /
situation. 〕
Further, to step to the Koji, Kotowaza & Yoji-Jukugo Jiten,
〔 [meaning ] to take it that what is good is good is good,
and what is wrong is wrong. That means to highly agree
what is good is good, and to definitely oppose against
what is wrong is wrong. It is to take a fair attitude in order
to draw a clear distinction between good and wrong, not
to be caught by one's own interest and viewpoint.
[ source ] Suhn-shi 〕
Doh zezu means that one, taking the fair attitude of zeze fifi, and, accord-
ing to zeze fifi (-ism ), behaves what one believes, or oppose against, and,
never lightly agrees, or conform easily.
To cite once more, the quotations made about ' doh zezu,' they are:
* not to compromise with flattery
* not to comform to the unresonable, what is unreason-
able
* not conform when there is no reason to do so
* not to uselessly compromisse over, or comform to
that which does not make sense
Accordingly, < wa si-te, doh zezu >, it could be assumed, means :
to harmonize with / to get along with others --- to put it another way,
to make kyohkan, or empathize with other people, yet to keep firmly
one's own opinion ( standpoint ), not to llose one's shuta-i se-i / sub-
jectivity self-determination, in referring to zeze fifi (-ism), and to pre-
serve jiritsu / independence and ziritsu / autonomy, if necessary.
We must bear it in mind, however, that both jiritsu and/or ziritsu are
casess that the other's opinion would be more fitting, or adequate,
proper, proper than one's own, and may be denied that what one feels
and thinks, if not wrong, may well obtain inconvenience or inexpedience.
Kunshi 's / great person's opinion would be on occasion would be
turned over, or devasted. He must, therefore, endeavor to keep and
improve his self-control and self-determination.
Now, I have so far made an examination / interpretation of the phrase ;
< wa shite, doh zezu >, so I would like to proceed to < doh si-te. wa
<div> </div> sezu >.
This antithetical phrase is, sadly, not explained about its meaning-con-
tent, but only that, as a kind of subordinate / subsiduary means to bring
into a relief the attitude or manner of Kunshi / great person does not take.
Hence, not being too much intimidated with a fear of misunderstanding,
to try to made a literal interpretation;
'Doh ' is roughly --- byt according to the review we have so far made ---
caught to conform to / to tune with, and ' wa ' to harmonize / to get well
with, which involves kyohkan empathy as its foundation.
As a conclusion, < doh si-te, wa sezu > implies to conform, but not
to make kyohkan or empathize.
'Doh si-te,' ( to conform ) of this case, it seems, connotares the negative
nuance or impression that it only to conform.
To be sure, to modifies such as ' easily ' or ' lightly ' --- used in the
interpretation of ' doh zezu ' --- would be added ' undelibrate,' ' thought-
less,' ' careless,' ' shallow, ' etc.
Doh / conformity in the present sense, it is assumed, carries with easi-
ness or frivolousness. For example;
' Oh, yes, yes ... '
' That's right.'
One responds easily / lightly to others --- without much consideration.
Or, a case of excessive reaction of approval.
' I myself don't think that way, though ... '
One who wants to keep pace with the other, hesitating or flattering.
' It's none of my concern.'
Out of indifference or getting utterly annoyed, one refuses carelessly
involved inthe situation at present.
' I want to avoid quarrel. '
Such easy conforming behavior / response or rejection as above cited,
could not reconcile with jiritsu / independence and ziritsu / autonomy in
our sense. It implies, as already assumed, solitude with privacy and even
contradiction so that it takes the position to back up / conform to the
clear-cut attitude / opinion of an individyal.
The phrase, ' doh si-te ' / to conform suggests this individual to be weak
and fragile, which means that one cannot definitely insist one's own < zeze
<p> fifi > --- that is, what one thinks is right or wrong.</p>And, in this connection, it should be pointed out that genuine kyohkan /
empathy is, as examined in the previous section, established only by theof
individual who can enjoy jiritsu / independence / and ziritsu / autonomy.
All of these would tell us that 'doh si-te ' is, it seems, the case where
one, because of incomplete jiritsu and ziritsu, easily, lightly conform to
others, but cannot harminize with, or get along well with them --- that
is one cannit reach kyohkan / empathy, particularly insofar as it relates
to a genuine one.
However, if grasped is < doh si-te,wa sezu >, an negative example of
< wa si-te doh zezu >, it might be, to interpret it in the 〈 kyohkan ―
jiritsu / ziritsu 〉 context, one of the necessities to take into consideration
in order for one in interpersonal relationships to maintain and live in.
In any way, < doh shite, wa sezu > / to comform, but not to harmonize
is the stage which illustrates the life of shoh jin / small person.
The world of everyday life is apparently much close to that of shoh jin /
small person than the lofty, high-minded, sublime stage Kunshi /
great person.
We could say that we may find anywhere such people around us.
To change the subject, here;
I would like to take up the following social phenomenona which, some-
how or other, could be assumed to supplement my present concern :
They are , < fuwa ra-idoh >, and < ugoh no shuh >.
:: yaji-uma / onlooker ::
To look up this word into the KOHJI-EN;
Yaji-uma
〔➀ a horse hard to tame a rough horse Or, an old horse
➁ to make a fuss about an event which one has originally
no concern to oneself, following around other people
or, such a person.
To turn to the Japanese-English Dictionary;
yaji-uma
onlooker
rubberneck
rout
rable
Then, to examine ' onlooker ' in the English-Japanese Dictionary, it ex-
plains as:
yaji-uma
〔( tohri gakari no ) kenbutsu nin / looker ( passing by )
* The onlooker sees most of the game. 〕
Here, we might take ' onlooker ' as corresponding to yaji-uma.
Yaji-uma, to interpret it in the connection with < doh shite > / conform in
interpersonal relationships, one ( yaji-uma / onlooker ), with others (of
the same kind ), out of mere curiosity, noses for, or snoops about the
scene where something is happening or has happened, and at times hoots
at it.
It is a kind of dohchoh / conformity. And, certainly, it issho jin / small
person's reaction. If his action remains at this stage, and does not develop
more, it would be quite all right. That is to say, it means that < doh shite,
<p> wa sezu > does not admit so that that the fuss there msy noy grow bigger.</p>With regards to ' wa, ' it implies harmony / geting along well with other
people, as already mentioned. So, in case the onlookers get wa or harmon-
ize with one another, and, conveyance and exchange of information includ-
ing mistaken, wrong, faked ones all together, get mobilized,in due course,
there would among ( onlookers ) emerge and enhanced itta-i kan / feeling
of oneness.
As for kyohkan / empathy, the fuss would provoke the related pnenomena
such as hankyoh / echoing, kohshin / mutual vibration, or kyohme-i /
resonance more than ever, and, the circle of the onlookers would get
broadened in waves and, eventually, led to a rout or riot.
It seems necessary for ' wa ' to objective grasp through rigorous anal-
ysis and review, but when the situation does not go this way, it would be
better and cooler a solution notto be ' wa sezu ' --- that is, not to har-
monize. For, it is a routine course that the scene would soon be calmed
down, and, then, the onlookers would lose interest, get downcast, and
leave the spot nonchalantly as if nothing has ever happened.
:: fuwa ra-idoh / to follow others easily ::
According to the KOHJI-EN,
fuwa ra-idoh
〔 to approve unreasonably the others' opinion, not hav-
ing one's own definite view 「 to ____ the majority 」
For an explanation more indetail, to retrieve from the Koji, Kotowaza &
Yoji Jokugo Jiten,
（ [ meaning ] to easily conform with the 's opinion, having
no definite views of one's own
[ interpretation ] Fuwa means to tune to other people
(' s opinion ), following them. Ra-idoh means all things re-
sonate, struck by thunder clap. 〕
Wa of ' fuwa ' could be assumed to be belonging to the category of
' doh ' or to comform / conformity in our understanding so far made.
What is fu of ' fuwa,' then ?
To read this Chinese character, ' fuwa ' in the Japanese way, it is < wa
<p> ni tsuku >, refering to the KOHJI-EN, the meaning of ' tsuku ' is describ-</p>ed. ( partly quoted ) :
tsuku
〔❶ ( omited )
❷ to follow after other people, and go with them
➀ to give one's heart to O to obey to take sides
with ( O )
➁ to follow after
( the following omitted ) 〕
To compare the above explanation ❷ with that of ' fuwa' : to tune, or to
conform, with other people, accompanying / going with them.
Fuwa is, then, assumed to imply dohchoh / conforming behavior / con-
formity.
That is to say ' wa ' of ' fuwa ' does not resemble that of < wa shite,
<p> doh zezu > in the sense that the former refers to conformity, whereas</p>the latter lies in harmony. Accordingly, wa of fuwa would be admitted
to < doh shite, wa sezu > / to conform, but not to harmonize.
Now, how about ra-idoh ?
To look up into the KOHJI-EN, once again,
ra-idoh
〔(to mean that when it thunders, things simultaneously
resonate / reveberate with that sound.
It is that one agrees with others' opinion for no reason,
having no definite opinion of one' s own. 〕
To recapture the context of the round bracket of the above explanation,
it is assumed to suit kyohme-i / resonance --- it means to arouse the
feeling of dohkan / agreement with other people’s ideology or opinion
as already quoted in the previous section from the KOHJI-EN.
As far as kyohme-i / resonance is concerned, when one insisits on
one’s own definite opinion, there would be no problem. It does not means
da-idoh, but, indicates consensus of opinion and so, belongs to the cate-
gory of dohkan / to have the same feeling.
Ra-i doh, it seems, has a tendency to get influenced easily by other
people's opinion, to take public opinion, or yoron, for example.
Yoron is explained by the KOHJI-EN as;
yoron
〔 the opinion which the general public insist opinion
commonly held in mass society 〕
In the process where innocent viewers are agitated / influenced, and get
resonated, by manifestation of opinion a social commentator makes
through mass media, public opinion would be fdormed and managed the
degree of < fuwara-idoh> would goes up, and presumably plunge into a
critical situation.
In such a case, it certainly required of that particular attitude of
bad, depending on a given situation, or the situation involved, and so,
not to easily compromise --- all of these dthen would give no room for
' ra-i doh ' to cut in.
Conversely, fuwa ra-idoh is assumed, insofar as people have no
definite opinion and get easily influenced, to appear or to be found any-
where in the world of everyday life.
In this connection,
Taking a little slide, let us take up the related word word, echoh, and
check it in the English-Japanese Dictionary,
echoh
〔❶ kodama / echoh kankyoh / reflection hankyoh on /
reflecting sound
* The boys shouted loudly in the cave so that they
could hear the echhoes of their voices.
❷ ( metaphorically ) resounding kyohme-i / influence
repetion ( at times ~es ) e-ikyoh / influence
❸ 《formal 》 imitation ( of other people's words, fashion
etc. ) tsu-ijuh / follow; imitate 〕
To grasp ' echo ' in the context of ra-idoh, the third choice of the above
explanation fits it.
So those who are sensitive to fashion --- to speak a little bitterly, follow-
ers of fashion. This kind people are assumed to be taking the ' ra-idoh '
i.e., can have no definite standpoint / opinion. And so, wheneverd new
collections ( of fashoin ) are presented, and new clothes appear at bou-
tiques, they move about them fanatically, trying to keep up with them,
or to follow them.
Among them there are, surely, those who pick up a new fashion, and
coordinate, or harmonize it to their own so as to refine their own of fash-
ion. This kind of behavior, we could say, arrives at the state of < wa
<p> shite, doh zezu > / to harmonize, but not to easily conform --- not</p>that of ra-idoh / to conform; to easily influenced.
:: ugoh no shuh / the crowd ::
According to the KOHJI-EN;
ugoh no shuh
〔 [Go Kan sho / the book of Late Kan] a crowd without
kiritsu / regulation nor tohse-i / control Or, a troop 〕
To consult the Koji, Kotowaza & Yoji Jukugo Jiten,
ugoh no shuh
〔[ meaning ] people who only gather together for no pur-
pose, have no unity, and cannot behave anything like a
group
[interpretation] ' Ugoh ' means a gathering of crows, and
it is so taken as to mean that the crowd ( of people ) with-
out an unity like a gathering of crows.
[ source ] Go Kan sho 〕
' Ugoh no shuh ' can be assumed that people gather together at a cer-
tain place, but, staying there in a scatted or disjoined state, having no
idea of what / how to behave, and, accordingly, lack regularity or unity
in their behavior. If so, it is easily assumed that they fall in ' fuwa ra-
idoh.'
If some stimulus such as an agitation, an appeal, ord a direction is there,
people would get surprised at it, show interest in, and pay attention to,
and follow after, it.
< Ugoh no shuh > is, it seems, the state propr to, ord precedent to, that
of the crowd, and s is < Doh shite, wa sezu>. This kind of state ---
' only gather together for no purpose ' indicates that people are indiffer-
ent to any order or direction, not responding, or influenced, and, ' cannot
behave anything like a group.'
Yet, getting along in this way would be better because it seems to sug-
gest that the world is kept in a peaceful, quiet life, would'nt it ?
A word for < ugoh no shuh >.
' Ugo ' is explained, as above quoted in the Koji, Kotowaza, & Yoji Jukugo
Jiten, to be ' only gather together for no purpose, ' but, according to my
amateur observation of birds --- including crows --- they did not look
like ' gathering for no purpose ' nor wsithout meaning.
First of all, they gather for exchange of information.
Birds, they looked to bring together information each has collected re-
spectively, for example, where they have found the dangerous zone, and
so, be careful not flyy over or in there, or a new place to get food ...
Most of all are those which are assumedly immediately linked to their
life and survival. Or, for confirmation of relationships, companionship,
solidarity, etc. among others.
At times, they looked at each other ; it appeared as if having a heart-by-
heart talk or communication through telepathy. Such behaviors would,
it seemed, consolidate their unity in group or ' wa.'
Suddenly, they flew away together in a group, and, then, down on a roof,
branches of a tree, an electric pole or wire where their companions perched
on.
Only one bird, it looked, soared up into the sky, and flew around, with
ease.
Consensus of opinion, or more, kyohkan / empathy with one another to
conform / maintain itta-i kan / feeling of oneness must, it is presumed,
have been actively working than humans.
It is the exctly the world of ' wa ' --- i.e., ' harmony ' / to get together.
Still, I did observe a solo flight of one bord, this case must belong to the
sphere of < wa shite, doh zezu >.
The solo flight of a single bird, we could say, was that of ' going my way '
style of life. It could be interpreted that the very bdird has no intention
to easily fly together with other people, which, it is assumed, means < doh
<p> zezu > / not to conform easily.</p>As a conclusion, these birds' behaviors do not look like fitting the saying
of < ugoh no >.
What comments would come from ethologists about the above observa-
tion and interdpretation I have made, I wonder ?
I would liked to know ...
So far we have tried to specify ultimately in relevance to kyohkan / em-
pathy such terms and sayings as kyohme-i / resonance, kyoh se-i / co-
livding, dohkan / agreement, doh-i / consensus of opinion, dohcchoh /
conformity, and, further, < Wa shite, doj zezu > / to harmonize, but
not to easily conform ; < fuwa ra-idoh > / easily agree ord conform,
self-determining opinion, and < Ugoh no shuh > / the crowd like gather-
ing of crows; the crowd without order and regulation --- all with an
attempt at free translation and interpretation.
Although these phenomena presented various, different forms, they
vary or differ only in degree, but not in kind. That is to say, there lie
the fundamentals of kyohkan / empathy underneath, somehow, some-
what.
And one more word:
Needless to say, but just for confirmation, we must take into considera-
tion the concept of as the requiement which makes it possible to
compose and maintain kyokan / empathy. With this confirmation, I
would like to close my present paperd.
wa si-te, doh zezu
〔 (meaning ) it is that one gets along well with others, yet
does not conform to what is considered unreasonable.
( the following omitted )
To proceed to look into the Nihongo no Johsiki ・ Hijohsiki *
_____________________
* The Dictionary of Commonsense and Non-
commonsense of Japanese languate; it is
installed in my electric ( op. cit. )
____________________
.
団野 薫のブログ イラスト 団野 花帆
（ 花帆は、薫の雅号です。）  |