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If I happen to experience trainings imbedded within prose, I tend to either jump over it, scan it, or otherwise read it as quickly as you can if it appears uninteresting. I am almost shamed to admit that my reading habits have no exception for Japanese literature, though I guess I'm forced to go back and really read them completely now, because that happens to be the topic of this paper. To start with, I can grasp the meaning of this poem if it's obvious enough in context. For someone unfamiliar with Japanese literature, language, history, etc., it's tough to comprehend, let alone recognize the allusions present. Fortunately, Royall Tyler was kind enough to footnote a great majority of those poems to the budding readers such as myself, and I am much obliged to him. Even then, I sometimes find that the meaning is outside me, too determined by cultural references, or simply too sappy. Discussing of heterosexual love, this becomes the major role of poetry in narrative prose, as can be found at The Tale of Genji and The Tales of Ise. As poetry-writing promiscuous scoundrels, Genji and Narihira are definitely two of a kind. The poetry itself, or at least the translations, are not terrible and occasionally quite persuasive. On the other hand, there are times when the words and their insinuations come across as crude or lewd or some combination of the two. On occasion, both circumstances can be met: Is not the the moon? And isn't the spring the identical Spring of the previous days? My own body is the same body - Yet everything seems different. The Tales of Ise, Part IV The screenplay and its vision is rather nice; Narihira is pining for his lover, reminiscing about the wonderful pa...