Birds and Flowers of Spring and Summer
One of a pair of six-fold screens by Kano Eino,
Suntory Museum of Art, Tokyo
The Japanese have a very lovely term for the poignancy of passing time and the mixture of joy and sadness experienced when one reflects upon the transient nature of existence: mono no aware.
Often translated as the pathos of things, it's more, I think, than simply an awareness of impermanence or a sensitivity to ephemera. It's also an aestheticized form of the ontological anxiety that for Heidegger characterized Dasein - i.e., the certain knowledge that everything dies and that all being is therefore a being-towards-death.
But it would be precisely this aestheticization of onto-anxiety that would be problematic for the German philosopher. For according to Heidegger, our essential task as human beings is to accept the inevitability of death, affirm its necessity, and strive to retain the authenticity of our own passing and we don't do this by transforming Angst into a kind of genteel reflection on things in the shadow of their future absence.
And so, whilst for the eighteenth century scholar and poet Motoori Norinaga mono no aware heightens our appreciation of beauty and enables us to comprehend the singing of the birds and the silence of the snake, this, for Heidegger, is not merely sentimental and besides the point, but risks inauthenticity.
That is to say, mono no aware fails to profoundly disturb or discomfort; it lacks the weight of almost unbearable fatality that the Germans are so insistent upon. Thus, whilst it makes us smile wistfully and go 'Ah ...' with a knowing sigh, it doesn't fill us with a sense dread at the monstrous and inhuman nature of existence; it doesn't make us want to scream when confronted by the truth of extinction and non-being.
In the end, I suppose, one has to make a choice here: does one want to picnic beneath the cherry blossom, or brood amongst the pine needles; does one want to develop a practice of joy before death, or a custom of fear and trembling?
I know which I'd rather do ...
