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radiowrites · 3 years

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the duller the knife, the deeper the scars

If we want to make it out alive, we’ve got to let the anger die

A Tale of the Nine Tailed fanfiction by radiowrites (RaisedonRadio on AO3).

One shot, late Episode 15 timeline, extended scene. Ki Yu Ri & Lee Rang.

Read it on AO3 or Below the Cut!

Hi everyone, this is my first fic in this fandom. I've generally kept to the spelling of names from the Viki subs since that was what I was most familiar with. Title and summary thanks to lyrics from Against the Current's 'that won't save us'.

Timeline is late episode 15, when Yu Ri tries to stop Rang from entering the Afterlife Immigration Building. Huge spoilers if you aren't that far in the series!

The steps beneath Yu Ri’s feet were so, so cold. The stone gave nothing, it only took, like the people who controlled the building in front of her. The Afterlife Immigration Office. Such a silly name for such a place.

The Imoogi had told her to stay put. He had a name, and she didn’t care. This place doesn’t allow pets, he had told her, and she had felt anger, and relief, and disgust. How can she feel such conflicting emotions all at once? She wanted to tear that smug look off his flawless face, and she wanted to curl up on the steps and cry. Because he had left her there to stall Lee Rang.

So she stood on the stairs, uncertain if her motives were her own, or if they had been implanted there from the Imoogi. He had been in her head too many times, outwardly laughing at her fears.

You’re so unbalanced, he had said with that cruel smile. Who raised you? A human?

Footfalls approached, and she jerked upright, strengthening her stance as Rang appeared.

He took in her rigid posture and sighed. In exasperation? Or was he just being theatrical?

“What are you doing here?” he asked.

She pulled her small curved blade from her hair. A Karambit, Rang had called it when he had given it to her. Believed to be modeled after a tiger’s claw. But, she knows now, she is just a fox. As she brandished the blade, his attention caught on its smooth movement, a memory reflex from the time she used it on him.

“You can’t go in, Mister Lee Rang,” she said. “Never.”

“Yu Ri, I’m here to save you and Lee Yeon,” he said, his words slow, calculated. “If something happens to Lee Yeon, I’m going to kill you.”

And she believes it, but this is the only thing she is capable of. She already almost lost him, by her own hand, if not her own mind.

“Please forgive me. This is to protect you, Mister Lee Rang.”

He nods, eyes already looking past her. Certain someone had come up behind her, she faltered, and he lunged forward and buried his fist in her diaphragm. How, how did she fall for such a simple trick? Had he not taught her better than that? She collapsed, no air left in her lungs, the stone hard on her wrist, the other hand wrapped around her middle.

He walked past her and entered the building.

Yu Ri huddled on the step, not far from where she had started earlier. She kept her eyes on the door, uncaring that she had left her back exposed. No one would be coming from that direction at this point. All the key players were inside. She should be in there too, but her presence would only be used as blackmail against Rang. Perhaps she was lucky to have been left out here by the Imoogi. She just wished she hadn’t also been left out here by Rang, too.

She heaved in a breath. The air iced her lungs, cooling the ache beneath her ribcage. The pain radiated higher, as if her heart was the thing that had been struck.

How long had it been? Minutes? Hours? She rocked on her heels and went to wrap her arms around herself, and startled when she realized her knife was still clenched in her hand.

As she looked down at her open palm, the blade glinted in the dark. Her memory of it coated in Rang’s blood flooded her senses.

It clattered against the stone when she dropped it. Never again. She’d leave it here, if she left here.

This is to protect you, she had told him as she stood in his path. What a joke. What right did she have? All she had done was cause him more trouble. If she hadn’t sought out the Imoogi’s help in the first place, she wouldn’t have been in this position. Did Rang resent her? Would he have rather died?

If none of that had happened, he would have tried to leave her at home for the final battle anyway, wouldn’t he? Was there any scenario where she could have been at his side, like Miss Ji Ah was right now with Lee Yeon?

Before her, the door opened slowly. She jumped up, ready to meet whoever, whatever was leaving.

Rang stood on the threshold, and her heart leapt but quickly constricted as she took in his expression. His sharp, guarded mask couldn’t hide the traces of tears on his face.

No one else came as the door closed behind him.

She instinctively went to him. “Is…” her words stalled, so she reached for his sleeve. He evaded her hand, and stepped around her without a word, or even a glance.

“Yes, the Imoogi is dead. You’re free to go.”

“But, what of Lee Yeon?”

He went down the stairs with a slight limp in his stride and said over his shoulder, “He’s gone too. Isn’t that what you wanted?”

“No,” she said, her voice catching. Tears started to slip down her cheeks. She hadn’t cried the whole time she had been waiting. “I wanted to protect you.”

“Well, you did an excellent job of it. Don’t follow me.”

“Wait!” She lurched forward towards him, barely noticing as she stumbled down the few steps. “You promised to kill me if anything happened to your brother.”

He paused. His posture was tall, proud, and yet defeated, hunched.

“It’s not worth my time.”

“But—” she choked back a sob. He had said he was here to protect her and Lee Yeon, so to kill her would leave him with nothing, right? Had he meant it, or was she really not worth his time, not even to carry out a threat? She looked up at the empty night sky, trying to stop her draining eyes and nose. “Where should I go then?”

“Shin Ju will take you back,” Rang said. “He’s a fool like that.”

She felt relief wash over her. He would, wouldn’t he? But the moment the emotion had settled over her she wanted to shake it off, scratch it off. Her body shouldn’t betray her like that. This wasn’t about her and Shin Ju. This was about Rang and the friendship…relationship she thought they had.

Rang still hadn’t turned towards her. He sounded so composed, and she was a mess. Look at me, she wanted to scream. Rang, she wanted to plead. How had she become more emotional than him? Hadn’t he been living with the feelings for longer? Do you eventually turn numb as you’ve lived for centuries?

All she could get out was, “Mister Lee Rang. Please.”

He turned towards her, and she knew what a pitiful sight she was. He quirked his lips, a thin imitation of a smile. She had seen him give it to many people in the past, never to her.

She sunk to her knees, hand stretched out towards him.

“Please. Don’t leave me,” she whispered. “Don’t abandon me like this.”

He shook his head, the smile gone, and turned away as he kept walking.

#tale of the nine tailed #tale of the gumiho #lee rang #ki yu ri #fanfiction #radiowrites #raisedonradio

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divinefireangel · 3 years

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“second-lead syndrome yourself” HAHA, HELP— welp, personally, i wouldn’t go as far as to imagine myself as one of the character that plays an active role in the story because i don’t think i have the capacity to handle ALL the headache that comes with the family and love dramas that revolves around everyone. [LAUGHS.] though i understand that when you watch a series or movies, you can’t help but feel like you’re somehow involved in the plot, or something like that. ^_^ as for myself, i’m more drawn to the wise, clever and reliable big brother type like lee yeon rather than a devilish and somewhat bratty, playful ‘dongsaeng’ type like lee rang. [chuckles.] i can’t deny how he’s done things to my heart, though. >\\\<

besides those two, there are also times when i thought about giving love and protecting characters like ah-eum/ji-ah and yuri. they’re just so precious! :'D

all in all, it’s an amazing kdrama that we’re, once again, being deprived of the fandom contents for! T_T

I mean, we do have edits and stuff for content.

Give me month to write 😂

Or you can write it too!

Listen. Ki Yu-Ri can kill me and I'd be happy 😍🥰

#scrumptious milkshake #ask #tale of the nine tailed #sush answers

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chanoyu-to-wa · 2 years

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Nampō Roku, Book 7 (6d): the Question of Adding Cold Water to the Kama When Preparing Koicha During the Furo Season.

6 [continued]) “Now, from the kuchi-kiri [口切]¹ until the First or Second Month, the tea’s ki [氣]² remains strong. Generally, from between the middle of the Third Month and its end³, little by little, [the strength of the tea] declines until, when the Fourth Month arrives, the ki has become [noticeably] weaker⁴. Except during the Fifth Month’s rainy season⁵, [the ki] continues to wither away [faster and faster].〚Then, in the period just before the jar [of new tea] is cut open, the ki [of the old tea] will fade until it has completely dissipated, so we are told⁶.”〛

〚[Ri]kyū discussed this matter with Jōō, and together they decided that,〛“because [the new tea has the strongest ki], among the five sounds of the yu-ai the [one known as] tōge-no-matsukaze [峠ノ松風] is the yu-ai [most suitable] for the kuchi-kiri⁷.

“When [we] arrive at the First and Second Months, [the temperature of the hot water used to prepare koicha] should reach kaminari-no-atsu [雷鳴ノ熱]⁸. [From these two examples,] step by step [we] should come to an understanding [of the matter]⁹.

〚“In recent years, [it has] more and more [become the custom that the period] from the kuchi-kiri in the Tenth Month, until the middle of the Eleventh Month, is the best time to use the matsukaze [temperature]; and after that, the reason for using the kaminari [temperature], and then [to reduce the temperature of the hot water] as the cha-no-ki [茶ノ氣] begins to weaken [with the arrival of warm weather] is something we need to come to understand: why the hot water is handled as it is¹⁰.〛

〚“Moreover,〛after the fourth month, both the color and the aroma of the tea begin to decline. If water boiling at tōge[-no-matsukaze] is then poured [over the tea], the tea’s ki will immediately dissipate, [and] the color and aroma will also be changed¹¹. It is for this reason that the furo’s yu-ai〚is refreshed〛by pouring in one hishaku of cold water; and, after dipping out [and pouring it back]¹², if this [hot water] one stage of boiling lower is poured into the chawan, the subdued yu-ai will help [protect] the tea’s ki¹³.

“If the ro happens to be used during the summertime, [you] should understand that the above [considerations] still [apply]¹⁴. And this [adding one hishaku of cold water to the kama before preparing the koicha when serving tea during the “furo season”] is also one of the secret teachings associated with the daisu, as Jōō declared¹⁵.”

_________________________

◎ In this section, Rikyū lays out his argument for why the temperature of the hot water must be moderated more and more as the year advances and the tea becomes older. This is the governing idea that regulates everything that is done in the wabi small room; and it is this, more than anything else, that separates the wabi setting from the shoin.

¹Kuchi-kiri [口切] refers to cutting open the mouth of a cha-tsubo for the first time (that year). While the term (and the special format regulating the tea gathering at which this is often done) can be used at any time of the year when a new jar of tea is opened*, here the expression is referring specifically to the opening of the first jar of the new tea, which was done at the beginning of winter (i.e., around the beginning of the Tenth Lunar Month). __________ *According to Rikyū, when receiving a visit from a nobleman, it is better to open a new jar of tea for that occasion, regardless of the time of year (or how much tea remains in the previously opened jar).

According to the Yamanoue Sōji Ki [山上宗二記] (which documents the details of the meibutsu cha-tsubo that were in use at that time), most of the classical cha-tsubo held between 6 and 7.5 kin [斤] (3.6 to 4.5 kg) of dried tea leaves.

²Ki [氣].

Ki [氣] means “energy.”

Here it is referring specifically to the volatile compounds that effect the smell and taste of the tea.

Each time the cha-tsubo is cut open, some of these compounds are lost (this is why we can sense a burst of fragrance when the lid of the jar is removed -- or when hot water is poured over the matcha in the chawan). The strength of this burst of fragrance decreases each time the jar is opened (especially as the ambient temperature begins to rise), and this is expressed as the decline of the tea’s ki.

³Oyoso san-gatsu han・matsu [凡三月半・末].

San-gatsu han [三月半] means the middle of the Third Lunar Month.

Matsu [末] means the end of the [Third] Month.

In Rikyū’s period, the furo was used from the beginning of the Third Lunar Month (which normally occurs around the end of March, though it can be as early as March 24, and as late as April 19). The furo season was defined as lasting from the beginning of the Third Month to the end of the Ninth Month, with the ro* being used from the beginning of the Tenth Month until the end of the Second. __________ *This convention of using the ro only during the winter appears to have been formalized during the 1580s, specifically some time after Rikyū entered Hideyoshi’s household.

Originally, after Jōō created the irori [圍爐裏], the ro was used all year round in the wabi setting (since it does not require an expensive furo -- even the relatively inexpensive clay furo could only be used a couple of times, meaning that they had to be replaced frequently, the cost of which would add up), with the use of the furo reserved for the shoin.

The first recorded use of the furo, in the small room, seems to have been when Rikyū did so in 1587, when he used the large Temmyō kimen-buro and small unryū-gama in a 2-mat room in the “tea-village” complex at the Hakozaki Shrine, in modern-day Fukuoka. On that occasion, Rikyū closed the mukō-ro with its wooden lid, and set the furo directly on top of the lid (thereby lowering the mouth of the kama closer to the floor).

According to his writings, Rikyū defined the formality of the arrangement in terms of the height of the mouth of the kama, relative to the shiki-i [敷居]. The shiki-i refers to the wooden framing that surrounds the mats -- the most obvious examples being the door-sills (the board in which the lower tracks for the fusuma and shōji are cut), for the room, and the toko-gamachi [床框] (the board that holds the tatami mat in) that fronts the lower edge of the tokonoma. When new, the tatami mats are usually of the same height as the shiki-i (though, over time, natural mats, which are filled with compacted straw, compress and so sink below this level).

◦ The most formal setting is when the furo is arranged on the shin-daisu (the thickness of the ji-ita is 1-sun 5-bu).

◦ Next, when the furo is placed on a nagaita or other sort of shiki-ita (these boards, originally made from the ten-ita of an old daisu, are 6-bu thick).

◦ Next, when the furo is placed directly on the floor (which means, on top of the wooden lid that covers the ro -- the lid is the same height as the shiki-i -- since placing the furo directly on top of the tatami would cause the mat to be burned, possibly starting a fire).

◦ Next, when a kama with an ordinary (upward-projecting) mouth (this kind of kama is referred to as a ko-shiki gama [古式釜]) is placed in the ro, with its mouth 6- or 7-bu above the ro-buchi [爐緣] (the thickness of the ro-buchi is also the same as the shiki-i).

◦ And the least formal setting is when an uba-guchi kama [姥口釜] is placed in the ro (here the recessed mouth of the kama is 6- or 7-bu below the level of the ro-buchi / shiki-i). Using an uba-guchi kama represented the most informal arrangement, and so all of the other utensils had to be in agreement with that sentiment.

⁴Shi-gatsu ni nareba iyo-iyo ki usuku [四月ニナレバ彌氣ウスク].

Iyo-iyo [彌] means more and more, progressively, increasingly.

Ki usuku [氣ウスク] means the ki becomes thinner (weaker).

⁵Go-gatsu ame no fushi [五月雨ノ節ナドハ].

Go-gatsu ame no fushi [五月雨の節]: Tanaka Senshō‘s teihon [底本] has go-gatsu tsuyu no fushi [五月ツユノ節] -- though tsuyu is more commonly written tsuyu [梅雨]* (rather than “雨”).

During the rainy season† (which takes place during the Fifth Lunar Month), the ambient temperature drops. So, during this brief period, the condition of the tea declines more slowly, even when the jar is opened frequently‡. __________ *Tsuyu [梅雨], which literally means “plum rain,” is so called because the excessive moisture and overcasts skies of the rainy season causes the fruit of the Japanese plum (ume [梅], also called Japanese apricot, Prunus mume) to be aborted, so that small green plums fall down like rain. Many fruits do persist, however, so this may be an example of self-regulating (so that an excess number of fruit will not weaken the tree).

In Kyōto, “tsuyu” is pronounced bai-yu [梅雨] (which is the usual pronunciation of the kanji), and tsuyu is considered a Tokyō-style corruption. Some scholars suggest that the pronunciation tsuyu is cognate with tsuyu [露], meaning “dew” -- the idea here being that the young plums fall like dew, or that they dew the ground beneath the trees.

†Global warming has generally made the rainy season much shorter in recent years. In pre-modern times, the sky was completely overcast from early June until the third week of July, with almost daily downpours. The result was that it often became quite chilly, requiring people to break out sweaters or windbreakers and the like.

‡Because the temperature is cooler, the rainy season was considered a good time for chanoyu.

⁶Sore yori, kuchi-kiri made no ma, dan-dan migi no tsū oyobazu [to] iu [夫ヨリ、口切迄ノ間、段〻右之通不及云].

This sentence is not found in the Enkaku-ji manuscript.

Kuchi-kiri made no ma [口切までの間] means in the period prior to the kuchi-kiri. In other words, as the furo season comes to its end (as the Ninth Month draws to a close)*....

Dan-dan migi no tōri [段々右の通り] means gradually (dan-dan [段々], little by little), as mentioned previously (migi no tōri [右の通り])....

This means that the process of gradual degradation that was described before continues -- and, indeed, accelerates -- after the rainy season is past.

Oyobazu [不及 = 及ばず] (the cha-no-ki [茶の氣]) will not continue until; (the cha-no-ki) will not last.

That is, after the rainy season comes to an end, the cha-no-ki will continue to become weaker and weaker -- at an exaggerated pace (due to the spell of intense heat) -- until, at a certain point toward the end of the Ninth Month, the ki has become so weak that matcha ground from the tea that remains in the cha-tsubo will be essentially tasteless. __________ *In other words, the several weeks before the start of the Tenth Month (i.e., the beginning of winter), when the jar of new tea (that was picked and processed in May of that year) will be opened.

⁷Go-in no yu-ai no uchi, tōge-no-matsukaze wo kuchi-kiri no yu-ai [五音ノ湯アヒノ内、タウゲノ松風ヲ口切ノ湯アヒ]*.

Go-in no yu-ai [五音の湯相] means the five sounds of the yuai.

This refers to the five† sounds of the yu-ai (which will be explained in detail in the accompanying appendix -- found at the end of this post), which chajin have traditionally used as a guide to determine the temperature of the hot water in the kama.

Tōge-no-matsukaze [峠ノ松風] means “the pine-wind on the peak.” This is the same as the temperature usually referred to as shōfū or matsu-kaze [松風]‡ today.

I decided to use the original name in the translation because it seemed that otherwise the reader’s mind would likely become too involved with the translated name (this is even more the case with the second name that is mentioned in the next footnote, since the word itself is so odd) -- which, actually, is irrelevant. “Tōge-no-matsukaze” is used in much the same way as writing 200°F**, and the poetry of the monikers has no real connection with the meaning other than to indicate the temperature. ___________ *In the longer version of this entry, this sentence reads sore yue [Ri]kyū ga yuai ha Jōō tomo mōshi-danji, go-in no yu-ai no uchi, tōge-no-matsukaze wo kuchi-kiri no yu-ai [ソレ故休ガ湯相ハ紹鷗トモ申談ジ、五音ノ湯相ノ内、峠ノ松風ヲ口切ノ湯相]. The difference between the two is that the longer version adds the information that the decision, regarding the yu-ai appropriate to the kuchi-kiri, etc., was determined by Rikyū, in consultation with Jōō. For that reason, this phrase was enclosed within double-brackets.

Since the original is represented as a discourse offered to Nambō Sōkei by Rikyū, this phrase must obviously have been added by someone else -- perhaps by Sōkei himself. (Indeed there has been speculation that the difference between the Enkaku-ji version and the longer one is that the former limits itself to Rikyū’s speech, more or less, while the other includes interpolations added by Sōkei.)

†Actually, there are six “sounds,” though the first of them, which marks the beginning of the boiling process, is soundless.

‡Tōge-no-matsukaze [峠の松風] and kaminari-no-atsu [雷鳴の熱] (see the next footnote) appear to be two of the designations used in the earliest list of the go-in no yu-ai. Unfortunately, the other three (or four) names have been lost. These names seem to be distinctly Korean in character, while gyogan [魚眼], kyū-on [蚯音], gan-pa [岸波], en-rō [遠浪], shōfū [松風], and mu-on [無音], the names in what is now regarded to be the traditional series, sound much more Chinese.

**Years ago I took accurate readings of the temperatures at which the different indicators appear. Unfortunately, I lost that information when one of the hard drives failed, and have no way of repeating the experiment right now -- not remarkably, I have long since forgotten what they are. I will have to add buying a cooking thermometer to my list of things to do when I have the money to do them, after buying a pair of glasses.

⁸Shō・ni-gatsu ni itarite ha kaminari-no-atsu wo koete [正・二月ニ至テハ雷鳴ノ熱ヲコヘテ]*.

Itaru [至る] means to arrive at, to reach. In other words, “as we come to the First and Second Months....”

Kaminari-no-atsu [雷鳴ノ熱] means “the heat (atsu [熱]) of the thunder (kaminari [雷鳴]†).”

Koeru [超える] means to cross, exceed, go beyond, surpass. However, since kaminari-no-atsu means that the water in the kama has come to a full boil, this verb should not be taken too literally (granted, the increased pressure that results from closing the lid will allow the temperature to go slightly above 212°F/100°C, but not significantly so). Rather, the idea is that fully boiling water should be used during this coldest time of the year‡.

The concept of netsu-rai [熱雷], from which this designation was derived, refers to a flash of lightening (usually above mountains or on the horizon) accompanied by heavy rain, but without any thunder clap being heard by people on the ground**. In English, this phenomenon is referred to as “heat lightning” or “dry lightning” (among other colloquialisms).

During the coldest time of the year (the season is referred to as dai-kan [大寒]††, “great cold”), water as hot as it can be made is used to prepare the koicha, and it is to this that the present designation refers: as the water gets hotter, eventually the sound seems to vanish when the kama comes to a full (rolling) boil. This is the state of boiling that is being described here. __________ *In the longer version of this entry, the text reads fuyu-no-sue shō・ni-gatsu itarite ha ichidan nie-no-i wo koete kaminari ni te [冬ノ末正・二月至テハ一段ニエノ位ヲ超エテ雷鳴ニテ立ル也]: “at the end of winter, as we come to the First and Second Months, [the water] should be boiled one “degree” higher -- to the kaminari [temperature] -- when [we] make [tea].“ (Please refer to footnote 12, subnote “‡” for an explanation of this use of “degree.”)

†Kaminari [雷鳴] is the reading here, according to what Kanshū oshō-sama told me one time: the meaning of the compound being the sound (nari [鳴]) of the atmospheric phenomenon we call variously thunder and/or lightening (kaminari [雷]). Rai-mei [雷鳴] would be anachronistic.

‡This is why the lid of the kama is closed during the chasen tōshi -- so that the water in the kama will come to a full boil.

This is also important (though, perhaps, a little counterintuitive) when, during the furo season, the host will subsequently add cold water to reduce the temperature. The point is that the hot water should come to a recognized standard first (which a full boil is). Then its temperature can be lowered reliably by adding a specific amount of cold water. If the base temperature is undetermined, mechanically adding cold water by rote will usually not produce the expected result.

Unfortunately, in the modern world, most people practicing chanoyu simply do not like koicha. As a result, because it has come to be viewed as an experience that has to be endured rather than enjoyed (so you can gain access to the pleasurable aspects of the chaji, such as the delicious kaiseki, the various kinds of kashi, and the appreciation of the rare and expensive utensils), people are not really so strongly motivated to understand exactly what needs to be done in order to bring out the best possible taste from the matcha that is available to them. So, today, most people tend to make koicha by rote; and they are satisfied if the resulting koicha is of roughly the right consistency, and without foam or lumps. (And, all too often, the last guest finds himself overwhelmed by the outsized portion that has been left for him to finish.)

**This seems to be the result when lightening jumps from cloud to cloud, with the relatively softer thunder-clap dissipating before it reaches the observer (on account of the difference in air density between there and the ground, which dampens the sound).

††During this part of the year, many tea schools have special ways of serving tea: using an especially large ro, or a kama with a wide mouth, or preheating the chawan and chakin so that the latter steams when it is taken out of the bowl, and so forth. These, however, are practices that were created in more recent times.

In Rikyū’s period, it was the temperature of the hot water that was the important thing, and during the period of intense cold, because the tea's ki is still very strong, water at a full boil could be used.

While this is the sense of the sentence, shō・ni-gatsu ni itatte ha kaminari-no-atsu wo koete [正・二月ニ至テハ雷鳴ノ熱ヲコヘテ], daikan [大寒] (the coldest time of the year) is usually experienced in January, with spring (heralded by a little warming) arriving with the Lunar New Year. That said, while temperatures do tend to go up a little around the Lunar New Year, they also drop once more in February (and, because of the brief spell of warmer weather, this cold feels even colder than January), before the cold season is finally conquered. Thus, by the Second Lunar Month, winter will be essentially over, with the year continuing to warm steadily from then on. The use of kaminari-no-atsu water should cease once the ambient temperature rises noticeably.

⁹Zen-zen ni sono kokoro-e wo subeshi [漸〻ニ其心得ヲスベシ].

Zen-zen [漸々] means little by little, by degrees, gradually.

What this means is that the temperature of the hot water must be adjusted according to the condition of the tea*. This is the knowledge or understanding (sono kokoro-e [その心得]) that should be (subeshi [すべし]) gained (from a study of the two examples cited here). ___________ *Which, in turn, is directly impacted by the ambient temperature that prevails over the course of the passing seasons.

¹⁰Kinnen ha nao-nao kangaete, kuchi-kiri jū-gatsu, Shimo-tsuki no han ha matsukaze no sakan naru wo mochiiru, sono ato kaminari ni suru shisai ha, cha-no-ki usuku-naru ni tsukete yu no kokoro-e aru-koto nari [近年ハ猶〻考テ、口切十月霜月の半迄ハ松風ノ盛ナルヲ用ヒ、其後雷鳴ニスル子細ハ、茶ノ氣ウスクナルニツケテ湯ノ心得アルコトナリ].

This sentence is missing from the Enkaku-ji manuscript; and, indeed, Shibayama Fugen’s version is slightly different from the text found in Tanaka Senshō’s teihon [底本].

Kinnen ha nao-nao kangaete [近年は猶々考て]: this introductory phrase (which is found only in Tanaka’s version of the text) means that “in recent years (kinnen [近年は]), it has more and more (nao-nao [猶々]) come to be understood that (kangaete [考て]) that....”

This seems to be suggesting that the link between the calendar and the things that the host does is of “recent” origin. In the early days, the winter season* began when the fruit of the yuzu [柚子] turned yellow†, and ended when the buds of the hana-suou [花蘇芳] changed from mahogany-purple to a magenta-pink‡. But by Rikyū’s period (at least according to his kaiki -- all of which date from the 1580s, at the time when he was an official in Hideyoshi’s household), the change was collated with the calendar, with the ro being opened at the beginning of the Tenth Month, and closed at the end of the Second Month.

Shimo-tsuki no han [霜月の半]: Shimo-tsuki (“the Month of Frosts”) is the classical name for the Eleventh Lunar Month; shimo-tsuki no han means “the middle of the Eleventh Month.”

Cha-no-ki usuku-naru ni tsukete [茶の氣薄くなるに付けて] means “until the time when the tea's energy begins to weaken....”

In other words, the sentence is contrasting the time when the kaminari temperature is used with the successive period when, due to the increasing warmth, the tea's energy begins to decline. __________ *The differences between the seasons seems to predate Jōō's creation of the irori (some older sources claim that even the people of Shukō’s generation observed these details, meaning that the distinction was brought with them from the continent).

While there may not have been much difference in the gokushin-temae between what was done in the cold season versus what was done during the warmer months, it seems to have been of ancient precedent that the tea that was harvested in May was not used until the beginning of the following winter. Even Yoshimasa performed his kuchi-kiri gathering at that time, when all three kinds of tea that were packed into his cha-tsubo were sampled.

†Or, in places where yuzu do not grow, when the white chrysanthemums blush pink. Both phenomena are the result of the temperature dipping below freezing at night.

‡This is the result of water being transported into the buds, causing them to swell. The movement of water up from the roots is related to the ambient temperature remaining above freezing for most of the day.

¹¹Shigatsu i-ka, cha no iro・kaori tomo ni otoroe-taru ni, wakitatsu-taru tōge-no-yu wo uchikomi-sōroeba, cha no ki tachimachi-nuke, iro・kaori mo kawaru nari [四月已下、茶ノ色・香トモニヲトロヘタルニ、湧立タル峠ノ湯ヲ打込候ヘバ、茶ノ氣タチマチヌケ、色・香モカハル也].

Shigatsu i-ka [四月已下 = 四月以下] means after the fourth month....

Otoroe-taru [衰えたる] means will decline, will wither, will fade.

Wakitatsu-taru tōge-no-yu [湧立つたる = 沸立つたる] means water that will be boiling at the tōge[-no-matsukaze].

Uchikomi-sōroeba [打込み候えば] means if to pour (boiling water).

Tachimachi-nuke [忽ち抜け]: immediately (tachimachi [忽ち]) dissipate (nuke [抜け]).

Iro・kaori mo kawaru [色・香りも變わる]: the color (iro [色]) and fragrance (kaori [香り]) are also (mo [も]) changed (kawaru [變わる]).

¹²Kumi-tatete [汲タテヽ], which means “after dipping up [the hot water],” seems to be referring to the practice of performing a yu-gaeshi [湯返し]* after adding cold water to the kama. It is after the yu-gaeshi that the change in temperature† is percepeived through the change in the boiling sound dropping by one “degree”‡. ___________ *Yu-gaeshi means that a hishaku of hot water is dipped from the kama and, after holding it still above the mouth of the kama for several seconds, the water is poured back into the kama. This produces an audible change in the sounds eminating from the kama, corresponding to a change in temperature.

†The purpose of the yu-gaeshi is to mix the water in the kama. Left untouched, the water in the kama stratifies into layers, each of which has a different temperature. By performing a yu-gaeshi, the layers mix together, resulting in a more uniform temperature.

‡This use of “degree” is related to the five (or six) sounds of boiling, each of which is considered to be one degree. (In these notes, I am not referring to degrees Celcius or Fahrenheit, so the reader should be careful not to be confused by the terminology.)

¹³Sore yue, furo no yu-ai ha atsutachi-taru yu ni mizu wo ichi hishaku uchi-iri, kumi-tatete, hito-koe no tarumi wo chawan [h]e iri-sōroeba, yu-ai yawaraka ni shite, cha-no-ki wo tasuke sō-ō-suru nari [ソレ故、風爐ノ湯アヒハ熱タチタル湯ニ水ヲ一ヒサク打入、汲タテヽ、一聲ノタルミヲ茶碗ヘ入候ヘバ、湯アヒヤハラカニシテ、茶ノ氣ヲタスケ相鷹スル也].

Both Shibayama Fugen’s and Tanaka Senshō’s teihon add the phrase saba-saba to nie-tachi [サハサハトニヘタチ = さばさばと煮え立ち], which means “to refresh the boiling (by the addition of one hishaku of cold water).”

Hito-koe no tarumi [一聲の弛み] means (the temperature) has been subdued by one voice*.

In other words, adding a hishaku of cold water lowers the temperature by one stage of boiling, which, in turn, helps to protect the weakened ki of the matcha. ___________ *One voice means one “degree of boiling” -- so, for example, from shōfū [松風] to en-rō [遠浪]. See footnote 12, subnote “‡,“ for more on this usage.

¹⁴Ro ni te natsu no kai wo suru mo dōzen no kokoro-e nari [爐ニテ夏ノ會ヲスルモ同前ノ心得ナリ].

As has been mentioned before, when Jōō first began to use the ro, his intention was that it was a defining element of the wabi setting (since it dispensed with the necessity for an expensive furo*). The furo only came to be used in the wabi small room after Rikyū entered Hideyoshi’s service -- because, while Hideyoshi wanted to use the meibutsu furo in his collection, he preferred to serve tea in the small room. ___________ *Even if it were a clay furo, in that period it would be used only once or twice, since as soon as the lacquer began to crack, it would be discarded -- since this suggested that the integrity of the furo itself was about to fail.

While do-buro [土風爐] intended for use at chakai are now usually made by famous craftsmen and kept in fine wooden boxes (and, when the lacquer is cracking they are sent back to the potter, who burns the old lacquer off and repaints them), even as late as the 1970s tea-utensil wholesalers had very inexpensive large clay Dōan-buro intended for limited use, to satisfy the purists among their customers (the low price meant that "high class" utensil shops did not trade in such things, preferring to offer only extremely expensive furo made by one of the famous craftsmen of the day).

When they tell the story of Rikyū's son Dōan fishing a discarded mayu-buro [眉風爐] out of the dump and converting it into a Dōan-buro by cutting off the mayu, an understanding of this backstory will put the whole episode into perspective -- how poor Rikyū's family was at that time, and why Rikyū decided that the appropriate habōki to use with this furo was made from a single feather, without a handle. Only something that simple would do, since anything any more elaborate would cast an unfavorable light on the discarded furo.

In the old days, there were no such things as “keiko-dōgu” [稽古道具] (utensils intended only for practice, that were never supposed to be used when serving tea to ones guests).

¹⁵Kore ha daisu ni te hiden ni shikitari-taru koto to Jōō mōsare-shi nari [コレハ臺子ニテ秘傳ニシキタリタルコトト紹鷗被申シ也].

Hiden [秘傳] means a secret teaching that is only supposed to be transmitted in person, from master to disciple.

Shikitari-taru koto [仕來たりたること] means a matter of tradition, a conventional practice. Something that is an essential part of the tradition.

The meaning of this sentence is that, as has been described before, while the gokushin-temae does not open the mizusashi until the very end of the temae (so the cold water can be used to clean the chasen in the kae-chawan, and then replenish the kama), once the decision was made that the temperature of the hot water should be moderated in accordance with the condition of the tea, Jōō declared that even when serving tea with the daisu (and performing the gokushin-temae), the mizusashi should still be opened and cold water added to the kama at that time -- because of the critical importance of doing so, since the host might otherwise spoil the koicha. Even in the shoin setting, where the utensils and so forth are also very important, the actual purpose of chanoyu is still to drink -- and enjoy -- the tea; so even in the shoin, the host must do everything he can to serve the best-tasting koicha possible, and this begins with using water that is exactly suited to the condition of the tea.

Oddly, this sentence was apparently missing from Tanaka Senshō’s teihon. This is sad, given Tanaka’s obsession with the daisu and its secret temae.

==============================================

◎ Appendix: the Go-in no Yu-ai [五音ノ湯相] (Five Sounds of Boiling).

In the text of this entry, only two of the five sounds are mentioned, tōge-no-matsukaze [峠ノ松風] and kaminari-no-atsu [雷鳴ノ熱]*.

This system, which was brought from the continent (probably by the emigrants arriving from Korea in the fifteenth century, though the system itself comes from China), recognizes six degrees of heat†. From the lowest to the highest:

￮ yú-yǎn [魚眼] (gyogan in Japanese), which means the first stage of boiling when bubbles the size of the eyes of baby fish begin to form on the bottom of the vessel. This stage is silent, which may be why the system was known as go-in [五音], “five sounds,” in Japanese.

￮ qiū-yīn [蚯音] (kyū-on), which means the sound of earthworms moving in the grass (after dark). This stage is marked by intermittent popping sounds.

￮ àn-bō [岸波] (gan-pa), means the sound of waves breaking against the shore. Here a more continuous sound begins to appear, albeit punctuated with occasional pauses.

￮ yuǎn-làng [遠浪] (en-rō), this is the rolling sound of the deep ocean rising and falling. This sound is similar to the shōfū, albeit quieter and different in pitch.

￮ sōng-fēng [松風] (shōfū), the sound of wind blowing through the pine trees. This is what is referred to in this entry as tōge no shōfū [峠ノ松風], pine-wind on the peak. Here the sound is a nearly uniform sound resembling wind blowing through pine branches.

￮ wú-yīn [無音] (mu-on), literally means “no sound.” This is when the water reaches a full boil; it is what is mentioned here as kaminari-no-atsu [雷鳴ノ熱]. Though it has “no sound (when compared with the previous four stages, where the sound is clear and apparent),” it is not entirely silent‡: the sound has evolved into a rumbling vibration that is more felt than heard with the ears. ___________ *The names tōge no shōfū [峠ノ松風] and raimei no netsu [雷鳴ノ熱] appear to have come from an earlier series (though, presumably, with the same six divisions). Unfortunately, the names of the other three or four “sounds” have been lost.

The names of the six sounds given in this appendix are said to have been brought to Japan along with the drinking of sencha [煎茶]. The drinking of sencha seems to have begun among the monks in Korea, in the early sixteenth century. While tea-drinking had been a traditional part of the Buddhist experience, up until the fifteenth century it seems that matcha was the way tea was usually drunk. During the Josen government’s suppression of Buddhism, in the middle of the fifteenth century, it seems that the tea utensils (and, in particular, the stone mills necessary to grind the tea leaves into a suitably fine powder) were destroyed. After Buddhism was rehabilitated, the lack of tea mills fostered the preparation of the same sort of leaves as steeped tea, and (according to the Nampō Roku) this practice was imported into Japan during the first half of the century. The Chinese drinking of qīng-chá [清茶] and wūlóng-chá [烏龍茶] seems to have begun during the Ming dynasty (1368 ~ 1644). However, since both of these teas are semi-fermented (qīng-chá for several days, as a result of its being sun-dried on mats that are spread on the ground -- this process results in the synthesis of tannins, so qīng-chá is not actually a green tea -- and wūlóng-chá, which is fermented for up to several weeks, since the drying process continues in the shade after being initially sun-dried), it is unclear to what extent the Chinese way of drinking steeped tea influenced the monks in Korea -- though the six names quoted above do appear to be Chinese, rather than Korean, in origin.

Another series that has come down to us is found in the Zuiryūsai nobe-gami no sho [隨流齋延紙ノ書] (written by Zuiryūsai Ryōkyū Sōsa [隨流齋良休宗左; 1650 ~ 1691] in 1690; Ryōkyū Sōsa was adopted into the Sen family from the Hisada family): kansui [澗水], gan-pa [岸波], tō-nami [遠波], gyogan [魚眼] or kaigan [蟹眼], shōfū [松風], shin-en [深淵]. Aside from simply listing the names, however, Ryōkyū Sōsa does not elaborate on their meanings.

Several other series of names are also found in the tea literature, though they are more or less similar to the list given in this appendix. While the older lists seem to all be of continental origin, during the Edo period idiomatically “Japanese-style” versions (such as: gyogan [魚眼], kaigan [蟹眼], jaku-zetsu [雀舌], ko-nami [小濤], ō-nami [大濤], musei [無聲]) were also made.

†Below the lowest of these, the water was not considered hot, but warm. Because the first of the six is before the kama begins to make any sound, it appears that it was not counted (hence go-in no yu-ai [五音の湯相], rather than roku-in no yu-ai [六音の湯相]).

While the fully boiling water is described as mu-in [無音], the kama is not actually silent. Hence this is counted as one of the sounds.

‡The best way to understand this is to boil a kama yourself, using a heat-source that is, in itself, silent. It is also best to heat the kama slowly, gently, otherwise the temperature will change so rapidly that the differences will not be detectable.

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mvsicinthedvrk · 3 years

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ivy

ivy: what are your muse’s views on marriage ? do they believe it is something strictly for love , or an institution rooted in business & social benefits ? do they desire or have they desired to be married ?

thank you anon! you did not specify a character so i'm going to answer it for all of them lol:

YES on marriage:

orpheus: you have NO idea how much he wants to be married to eurydice. he would honestly almost cry just thinking about it. big yes

pippin took: i could see him proposing after, like, date number three, or i could also see him getting married in the equivalent of a vegas wedding sort of situation. he can be a little impulsive but his heart’s always in the right place, so he would want to marry if he felt like he was genuinely in love

martin blackwood: i think he needs to work on himself first. he still harbors some fear of abandonment and has some self-worth issues that he should try to work out on his own before getting attached to anyone else permanently. but he’s always been a romantic at heart, so i think eventually marriage would be something he would hypothetically be interested in-- just far longer down the road, and if he met the right person.

wei wuxian: yeah, he’d get married. i have no real explanation, it’s just a vibe. if a relationship naturally grew into something more intense, i could see him agreeing to get married for love if someone proposed to him. i can’t envision him being the one doing the proposing just because he’s somewhat oblivious when it comes to romance and i don’t think he’d realize it’s that serious until the person he’s dating explicitly told him. lol.

it’s a NO on marriage:

holland vosijk: his last girlfriend literally tried to murder him, so it’s a no from him. forever.

kaz brekker: marrying someone would require both physical and emotional vulnerability, both of which kaz strongly refuses.

noah czerny: it’s a no for logistic reasons-- he looks perpetually 18 and also, he’s dead.

wen kexing: as much as he jokes about wanting to marry zhou zishu, like, yesterday, i don’t think he’d actually go through with it (at least where i pulled him from canon). because on one hand he craves that zhiji companionship and would WANT that marriage bond, but on the other hand-- i think he truly believes that marriage wouldn’t ever be truly attainable for him, because a) his real identity is still under wraps and he’d literally rather die than a’xu find out that he’s the master of ghost valley and b) he hasn’t yet gotten revenge for his family, and that, as always, comes first.

henry strauss: at the moment, he doesn’t know when his faustian bargain will come due, because time is wonky in D.C.. so i doubt he’d get married knowing he might abandon his partner within a few months.

WHO KNOWS?

ki yu ri: she did get married in canon because the circumstances were right and her partner was perfect for her. shin joo was really THE person for her, at that exact time. could that be replicated again? i don’t know. it would have to be the perfect storm of circumstances again for her to even consider marriage; she’s just not quite there yet, character-development wise.

peter pettigrew: the only reason he would ever get married would be if he could marry into a super intimidating wizarding family. like. it’d be a business deal more than anything, if he thought it could protect him. and he’d be miserable every second of it (which he deserves)

patroclus: making a public announcement of your lasting bond with someone really entices him. so he’s definitely pro-marriage, but also, he’s in love with achilles who is dead as far as he knows, so. it’s probably a no for him? up in the air.

melanie king: i think she’d do well in a marriage. if she found a serious partner, melanie would marry her, for practical reasons as well as for love. but she’d also be okay living permanently with someone and not going through with the actual marriage hoops/paperwork, so. it’s also a toss-up for her.

yuri plisetsky: he’s too busy to think about marriage. ask him in 10-15 years once he’s done with his skating career.

#;; meme answers ;;#;; wwx ;;#;; hv ;;#;; mb ;;#;; yp ;;#;; mk ;;#;; hs ;;#;; pk ;;#;; oh ;;#;; pt ;;#;; wkx ;;#;; kyr ;;#;; pp ;;#;; nc ;;#long post tw #murder mention tw #death mention tw #[ thank you!! ]

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attendantdesign-blog · 7 years

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New Post has been published on Attendantdesign

New Post has been published on https://attendantdesign.com/china-bans-tour-companies-to-south-korea-as-defence-spat-worsens/

China bans tour companies to South Korea as defence spat worsens.

Order to Beijing travel marketers comes as tensions increase over Thaad defense platform.Order to Beijing travel marketers comes as tensions increase over Thaad defense platform.

Beijing has banned Chinese excursion businesses from traveling South Korea, as China escalates its retaliation in opposition to the planned Korean deployment of the United States-constructed Thaad missile protect. Group excursions departing after March 15 must be canceled, with companies not in compliance liable to fines and having their licenses revoked, in keeping with written commands issued by China’s tourism administration and proven to the FT by means of one Beijing-based agent.

Booking sellers at numerous travel corporations, consisting of China’s largest online tour portal Ctrip, instructed the Financial Times on Friday they were retreating a few merchandise, with three bringing up Seoul’s missile defense plans because of the reason.

Wang Ki-younger, a director at South Korea’s lifestyle ministry, stated on Friday the ban could initially impact Beijing travel agencies but would be expanded to different provinces. China’s tourism management couldn’t be reached for comment.

Please use the sharing gear determined via the email icon at the pinnacle of articles. Copying articles to share with others is a breach of FT.Com T&Cs and Copyright Policy. Email [email protected] to shop for additional rights. Subscribers can also proportion up to ten or 20 articles according to month using the gift article carrier.

Beijing has spoken back with growing rancor to Seoul’s choice to installation Thaad, the Terminal High Altitude Area Defence platform. While South Korea insists the device is for defending itself in opposition to North Korean missiles, China fears the technology will permit a best friend of the US to secret agent on its military developments.

“This might be just the start,” stated Michael Na, a strategist in Seoul with Nomura. “They have so many alternatives to punish Korean agencies.”

He delivered that “nearly each important Korean organization, inclusive of Hyundai Motor and AmorePacific, is predicated closely on Chinese income”.

Shares in Hyundai and cosmetics conglomerate AmorePacific slid on Friday, down 4.Four consistent with the scent and eleven in step with cent respectively at the near of buying and selling in Seoul. Photos of a vandalized Hyundai car circulated broadly on Chinese social media this week. Several South Korea-linked entities have already felt Beijing’s wrath in response to the Thaad plans. Chinese state information enterprise Xinhua last month issued a stark warning to Lotte, considered one of South Korea’s biggest groups, for giving up land on which the Thaad platform may be hosted.

“Lotte will harm the Chinese people and the results will be excessive,” stated the report, which accompanied a string of presidency probes into the organization’s business pursuits in China. Tuniu considered one of China’s main online journey sites, advised the FT it was no longer promoting organization journeys to South Korea, although current bookings might be honored. Where preceding bookings concerned companies owned by way of Lotte — whose groups encompass accommodations and obligation-free stores — the enterprise could inspire customers to change their plans, it introduced. “Tuniu strongly opposes South Korea’s set up of Thaad and the provision of land for Thaad by way of Lotte Group,” the agency stated.

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Mr. Na of Nomura said that although South Korea had signed a trade agreement with China, there were masses of ways wherein Beijing could punish Seoul.

“If they, say, put off a commonplace system for Korean imports and take different retaliatory measures on Korean merchandise, there’s nothing Korea can do approximately it,” he said. Chinese tourism to South Korea has boomed in latest years, delighting shops, however, irking domestic travelers who’ve found the USA’s points of interest swamped with site visitors.

There had been more than 8m Chinese traveler arrivals within us of a final 12 months — up 36 according to cent year-on-12 months, said Mr. Wang. The numbers had endured to boom even after Seoul introduced the deployment of THAAD, he introduced. China’s tourism administration issued a observe on Friday confirming reviews that Chinese guests had been denied access to South Korea’s Jeju island in current months for holding incomplete tour documentation. It reminded citizens to “pick tour destinations with warning”.

Fantastic Facts About South Korea’s Sports

South Korea -one of the maximum modern international locations inside the Third World- may be very a success in the worldwide sport. From 1976 to 2004, Korea has won 203 Olympic medals, inclusive of 72 golds. It has more gold medals than Cuba, Venezuela, Portugal and Nigeria mixed. The crew from South Korea won the gold medal at the 4th World Junior Men`s Volleyball Championship held in Manama (Bahrain) in 1987. Suk-Eun Kim, a great participant in the tournament, helped his team towards the first role, the great end result ever for Asian united states since 1981.

Seoul -the capital town of Korea- has hosted several global sports occasions which include: -The X Asian Games -The VIII World Basketball Championship -The XXIV Olympic Games Like Jorge Antonio Bell Mathey (Dominican Republic) and Oswaldo Jose Guillen Barrios (Venezuela), Dong Won Choi became one of the nice baseball games in the Eighties. Under his innovative leadership, Korea won the silver medal at the 1980 World Championship in Japan.

Un Yong Kim -former Korean flesh presser and diplomat- received the 2000 Sports Grand Prix of the Korea Sports Press Union, in a reputation of his contribution for the historical joint parade of the Democratic People’s Republic of Korea and South Korea on Olympic teams during the outlet ceremony of the Olympic Games in Sydney. This remarkable guy of Korean game has been commemorated numerous instances in the reputation of his efforts to national and nearby sports motion. South Korea received the second Olympic name of its history in women`s handball in Barcelona’92 (the first one became in Seoul’88). It defeated groups such as Austria, Spain, Germany, and Norway. The group also gained the gold medal at the 1995 World Cup. In 1998, Korea received the gold medal at the Asian Games in Thailand. The Korean baseball gamers had been participants in the second Olympic tournament in Atlanta (Georgia, USA).

This Asian united states of America are well-known for its sportswomen within the international. Among these athletes are Kim Jin Ho (archery), Jang Ji-Won (taekwondo), Kim Hyun OK (handball), Lee Bo-Na (capturing), Lee Eun-Sil (table tennis), Jang Mi Nam (weightlifting), Jin Sun-Yu (skating), Seok Eun-Mi (desk tennis), Byun Chun-So (skating), Kim Hyung Mee (handball), Hyun Tung-Hwa (desk tennis), Suh Kwang-Mi ( discipline hockey), Jang Young-Ja (desk tennis), Sun-Hee Lee (taekwondo), Se Ri Pak (golf), Cho-Hyun Kang (taking pictures), Kim Soo Nyung (archery), Kim Hwa Soon (basketball), Lee Eun Kyung (archery), Bang Soo Hyun (badminton) and Hyun Sook Hee (taekwondo).

Yoo Nam-Kyu gained a gold medal in men`s table tennis singles on the Olympics in Seoul. The 1st World Youth Women`s Volleyball Championship become gained via South Korea in a final in opposition to the People`s Republic of China. Jae-Wang Kang becomes one of the quality handball players in the twentieth century. Under his exceptional play, South Korea received the silver medal in handball in the Olympics in 1988.

South Korea has gained a gold medal in men´s basketball 3 instances on the Asian Games (1970, 1982 and 2002). The Peruvian women`s volleyball group changed into coached by means of Man Bok Park, who changed into born in South Korea. Immediately after Peruvian women`s team didn’t qualify for the Olympic Games in 1972, the Peruvian Volleyball Federation appointed Man Bok Park as head coach of the senior countrywide crew. Man Bok Park stated: ” In 4 years time I intend to make Peru one of the top six within the international”. In only some months the Peruvian national team modified. He was looking ahead to determination and a banishment from their vocabulary of the word “holiday”. He gained the gold medal on the 1993 South American Championship, the silver medal at the 1982 World Championship, the silver medal at the 1986 Goodwill Games, the silver medal at the 1988 Olympics, the bronze medal on the 1986 World Championship and the bronze medal at the 1991 Pan American Games.

The Republic of Korea hosted the 27th Baseball World Cup in 1982. The Korean team beat Japan to clinch the primary vicinity. This was the first time in which a country apart from Venezuela, Colombia or Puerto Rico had won the World Championship. Yang Jung-Mo gained the Olympic gold medal for freestyle wrestling on the 1976 Olympics in Montreal, Canada. However, he lost the risk to guard his identity whilst South Korea boycotted the Olympics in 1980 inside the USSR. China The tour 2003 World University Games occurred in Daegu, Republic of Korea. Korea -one of the world`s poorest international locations within the 1950s- competed in the Asian Games for the first time in the 1954 Asian Games in Manila, Philippines. The Republic of Korea dispatched nine sportswomen to the Winter Olympic Games in Lillehammer (Norway) in 1994.

Kim Hwa Soon is the excellent basketball participant in the history of Korea. In 1984, she, in the end, realized her dream of competing in the Olympic Games, helping the Korean team win a silver medal at the Los Angeles Games. In the 1980s, Korea had famous volleyball players in Asia. They had been Jang Suk Han, Jong-Il Yoon, Hee-Kyung Gae and Byung-Sun Lee. Korean sportspeople have completed extremely good in global activities in sports activities which includes archery, badminton, baseball, basketball, boxing , kayak, biking, equestrian, football, golfing, gymnastics, handball, fencing, area hockey, judo, karate, taking pictures, softball, synchronized swimming, table tennis, volleyball, beach volleyball, weightlifting and wrestling. Yeo Woon-Kon becomes a member of the Korean crew which won the field hockey tournament at the 2002 Asian Games. He also received the silver medal on the Olympics in Sydney.

The Korean youth team received the Asian Cup football in 1981 and certified for the FIFA World Youth Cup in Sydney, Australia. Alejandro Guevara Onofre: He is a freelance writer. Alejandro is of Italian, African and Peruvian ancestry. He studied political technology and journalism.He has posted more than seventy-5 research paper in English, and greater than twenty in Spanish, regarding the sector problems, Olympic sports activities, international locations, and tourism. His subsequent essay is referred to as “The Dictator and Alicia Alonso”. He is a professional on foreign affairs. Furthermore, Alejandro is the first author who has published an international-e-book encyclopedia in Latin America.

He admires Frida Kahlo (Mexican painter), Hillary Clinton (ex-First Lady of the united states), and Jimmy Carter (former President of America). His favored film is “Gorillas in the Mist”. Some of his favorite books are “The Return of Eva Peron and the Killings in Trinidad” (by V.S.Naipaul), “Las Mujeres de Los Dictadores” (with the aid of Juan Gasparini) and “Murder of a Gentle Land” (through John Barron and Anthony Paul). His personal motto is “The destiny is for the ones those who agree with inside the splendor o f their dreams” by way of Eleanor Roosevelt.

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