Taking "The Tale of Genji" and Kawabata Yasunari's works as examples to talk about the "mono-sorrow" aesthetics in Japanese literature.

Answer: It can be said that the concept of "mono-sorrow" is the essence of the entire Japanese culture and Japanese literature, and is also the key to understanding the Japanese national temperament.

In his "History of Japanese Literary Thoughts", Ye Weiqu explains "mono-sei" as "a mixed feeling of love and sympathy towards the object of feeling. This object can be a person or object, or it can be expanded to a social situation.

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In short, mourning is a deep philosophical feeling caused by the blending of scenes. It does not have major social themes, grand spirit, infinite strength and violent conflicts like ancient Greek tragedy.

It is not as full of romantic passion and heavy ethical consciousness as Chinese tragedies, but is filled with a uniform and light sadness, running through the lingering lyrical tone, thus reflecting the tragedy in life and daily life.

This concept has established its dominant position in Japanese literature. Looking at most Japanese literary works, this literary concept is permeated.

From the "Man'yoshu" in the eighth century to the "The Tale of Genji" in the eleventh century, they fully reflect the pursuit of the "mono-ai" style. In particular, "The Tale of Genji" played an immeasurable role in the development of Japanese literature in later generations.

The Tale of Genji, written by Murasaki Shikibu, was published in the early 11th century. It has fifty-four chapters and nearly one million words. It has many characters and delicate descriptions, making it a model of the story.

The novel is written by human psychology, and the writing is full of delicate, elegant and resentful sentiments.

"Although it also depicts many scenes of power struggles in the palace, the most important thing is the gorgeous and sad love."

The traditional Japanese beauty revealed in the sad and innocent "Man'yoshu" was inherited in "The Tale of Genji".

Kawabata Yasunari's aesthetic taste inherits more of the "mono-sei" spirit of traditional Japanese artistic beauty.

He often emphasized that "the 'mono-sorrow' of the Heian Dynasty became the source of Japanese beauty" and "the word sadness is connected with beauty."

It can be said that "material sorrow" occupies the most important position in his aesthetic consciousness.

Most of his novels express sorrow and sympathy, expressing simple, profound and touching feelings of admiration, love, sympathy, pity and sorrow for small people, and this feeling is expressed through chanting.

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He combines the sadness of the object of description with the writer's own sympathy and sadness, giving the many kind-hearted lower-class female characters in his works a tragic mood, and connects their sadness with innocence and simplicity, showing a distinct and gentle woman.

Beauty creates a touching and beautiful artistic image.

Kawabata Yasunari's "The Dancer of Izu" begins with the plight of the knitting dancer Kaoruko.

It reflects Xunzi's inner sadness and deep sorrow through her slender beauty; at the same time, as the male protagonist, "I", a middle school student, contains deep and depressed emotions.

Both show a Japanese natural emotion of "mono-sei".