《大奥 (第1巻)》是一本由よしながふみ / 吉永史著作，白泉社出版的B6图书，本书定价：JPY 600，页数：191，文章吧小编精心整理的一些读者的读后感，希望对大家能有帮助。
《大奥 (第1巻)》读后感(一)：论大奥社会权利和性别反转的关系。
虽然是英文的，可是这是作业。
~~~别~~~喷~~~我~~~啊~~~泪~~~水~~~留~~~下~~~来~~~
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Ooku: the Inner Chamber:
ocietal Gender Roles and Power
As the winner of many noticeable prizes and the adapted source for well know movie, “Ooku: the inner chamber” has already gained many applauses from its readers. Particularly, it is interesting to me that the winning reason for 2009 James Tiptree Jr. Reward is to rewarded the manga as it explores one’s understanding for gender roles. The female author Fumi Yoshinaga set up this fiction in early Tokugawa Japan. She explores the possibilities as much as she can think of to demonstrate a world of reversing sexuality roles. In this world, women take over men’s power and become the dominated force of society. Men, on the contrary, lost dramatically in number and diminishing because they are easy to get sick.
In this paper, I will analyze the role of sexuality in the tale of “Ooku”. Specifically, I will demonstrate that the message underlying the possible outcomes of a society dominated by women is that the societal problem at hand is not inequality between the sexes but an imbalance of power. By listing the relation between sexes, I would like to demonstrate the gender characteristics and the societally reinforced gender roles. Behind these gender differences, I will also address the power dynamics between the sexes in text and image in contemporary Japanese society.
In Ooku: the inner chamber, story begins with the death of a little boy, Sadakichi. This incident shadows a curse on a nationwide infection of a non-healable disease, Redface Pox. The epidemic is gender-related and soon diminishes the male population by dramatic numbers. 8 years later, the sex ratio shifts to one to four for male and female respectfully. Males are still exceedingly infectious to the vital disease. Consequently, female become the majority labor of the society. The focus then shifted to our protagonist, Mizuno, the adopted younger son of the non-wealthy samurai family. In the society when poverty male become prostitutes to make a living, he can still live his life the way he wanted under the protection of his family. The gratitude to his family made Mizuno decide to go into Ooku, the harem of the female shogun. Leaving his childhood sweetheart, Mizuno arrived at Ooku and explored that in this isolated harem in Edo castle Lady shogun is the only female allowed in this 800 men castle. He flashed back that women outside desperate to have a healthy baby and condemned himself for the helpless situation. Living in the chamber with his courage, Mizuno soon recognized by his fencing skills and be able to meet with Lady Shogun. One day, accidentally, Mizuno was chosen by lady shogun as companion for the night. However, the first man the unmarried shogun chooses has to forfeit his life. Aware of this, the lady shogun decides to break the tradition and let Mizuno back home to married his childhood sweetheart. Moreover, the lady shogun sends away a part of the talented young members in her harem to avoid this unfortunate secret life in the chamber.
1. Raise question- roles in society does not change as the gender reversed. Question the author’s real intention of reversed gender.
After finish reading the manga, I find that there are few points that are noticeable to me. To start with, I realized my interest to the manga contributes to the reversed gender roles as the author Yoshinaga demonstrated. In fact, I believe seldom anyone would not feel some sort of novelty by the story setting especially about the female dominated society. The author illustrates in this manga as much as she can that the possible outcomes when women take over the rules of the men. Especially, as depicted in the manga, women are strong. Men are easy to get sick by infection. They lose their normal characteristics as muscular and strong. On the contrary, women have to take over these the harsh work and become the strong and powerful labor source. Seemingly, the gender characteristics are reversed for both sexes under the illustration of Yoshinaga. However, when we look closer to the manga, there are few scenes do not necessarily relate to this setting.
As we can take a glance at Mizuno’s samurai family, the mother holds most power in the family. She helps Mizuno to set up a blind date and hurries him to get married. We can also learn from Mizuno’s appreciation to the mother because she did not use him to make money that the mother has the right to make decisions for children. All these show the supreme power of a mother within a family. This is reasonable to the readers, because it falls into the context of female dominated society. Woman should have power in any circumstances. Meanwhile, however, I would like to point out that women dominant in family is the reality and preforms in contemporary Japan as well. As an illustration of women’s power within the family in Japan:
…within the home, the Japanese woman has wielded considerable power. To her the control of the family finances, the moral education of the children, and the preservation of family cultural tradition, have traditionally been entrusted. Thus, even in this male dominated society, the female has had a sphere of influence, but male and female societal roles have been carefully distinguished.
As we can see, the women have their power at home. This power is even higher than that of men’s. Thus in the manga world, some gender roles in social division of labor does not necessarily change. More importantly, it suggests the possibility women can take power both in family and nationally. In a men dominant society, this can be true as well. Some men are willing to put their focus at home. They let the wives work and earn salaries, and they take over the responsibility conventionally belongs to women. Accordingly, men and women are taking different social roles not corresponding to their sexes but their social responsibilities. Even though the gender reversed in Ooku, the social responsibility still remains the same.
2. Gender characteristic and the position in society.
In deed, there are some relationship between the sexes and power corresponding to this manga. Draw from the experience in the traditional patriarchy society in Japan, readers might easily, however too naïve to assume that power automatically pass on to the opposite sex and it is natural for woman to rule everything in Ooku. I hope to stress that it is not sexes reversed caused the redistribution of power, but the hierarchy causes the change of gender roles. To explain this, I would analyze with the representative figures: Lady shogun and Tsuruoka:
The female Shogun, without doubt, is presented as the most powerful person in this manga. She controls the military source of the country. She has a harem with 800 beatiful men. She commands and others must obey her. Although she does have some female characteristics: for example, she almost stumbled herself in public. However, she contains the power to restrain others from laughing. Her female feature somehow hidden under the supreme political power. Mostly, her characteristics can be described as charismatic, decisive and powerful, which are the traits we expected to observe in men in contemporary society.
On the other hand, Tsuruoka, as a men living inside the harem with the other 800 men, contains more so-called female characteristics. As illustrated in Ooku, there is strict hierarchy in the harem for incredible numbers of men. Some have controls more power over the others, and accordingly have more allowance. Tsuruoka is one of the eight hundred men, and he has almost no power over the others. He cares about the way he dress and want to look good, so that men who have more power can fancy him. He relies largely on people superior than him. He is passive and inferior. Under this condition, he shows jealousy, love to beauty, and sensitivity, which are the traits link more with contemporarily defined females.
As I can conclude from these two figures, the social hierarchy somehow determines their unique characteristics, and the relative characteristics are what society defined gender roles. Thus it is the position in society generates certain gender roles.
3. The social structure is stable. Gender roles take their own responsibility within the society. However the inequality issue remains.
As I have address above, different gender roles perform their own responsibility in society. However at the same time, the power distribution seem to differentiate the societal gender roles. Large part of reality remains in Ooku, especially of political ideology.
In the last part of the manga, lady shogun visited the old man, Murase, for the scribe “chronicle of a dying day”. Surprisingly, she finds out that the creator of the inner chambers is actually woman, and she dominated the country under coverage as a man. Although the following story is not yet been revealed. I think it is still interesting enough to cast doubt: Does it really matter if it is a man dominated the country or a woman？ Clearly, the country is still stable and works the same way as it is in contemporary society. The most obvious and implicit message the readers get from this part is that regardless of the reversed gender roles in the manga’s world, the social still function the exact same way. The masculinities take over the labor force, while the reserved house hosts take care of domestic matters.
What we can learn from the book is that even a society dominated by women does not solve the problem of inequality. Also, at this point it is pretty clear that the inequality is not due to different gender roles but due to power. After Lady shogun sets Mizuno free, she again frees another 50 beautiful and talented men in Ooku. By doing this, she tends to give up some of her power. Ironically, this power is the power to show off the supreme power she has, the power to make 800 men unfortunate, and the power to make the women outside unable to have healthy babies. Thus power causes this inequality and unfairness.
As for the contemporary society, there is a related event illustrate in the book Feminism in Modern Japan. The author Vera Mackie pointed out that during the post war Japan in 1940s, the ongoing debate over “domestic labour” brought out important idea of position of female in society: “society should value the domestic labour performed by women.” In contemporary Japan, there are some improvements towards inequality, however, the debate demonstrates more pragmatic problem of women’s position in society. As we talk about social gender role, we have the ingrained idea of what men and women should be like. This is the gender role reinforced by society. As for the reason, Mackie showed evidence that “until 1985, the Nationality Law was based on patriarchal principles.” Evidence showed in Ooku also illustrates this idea. When Hasamichi takes position and holding real political and military power, she still need to use male’s name.
Under the influence of conventional men dominated society, the author depicts the changes under the women dominated society. She depicts the Lady shogun as a moralism on political ethic. She freed Mizuno from death penalty; she gives promotion to Hasamichi; she drifts the fawning admirers. According to scholar Susan J. Pharr of Harvard University, woman has a tendency to “seek clean politics”. Gender can simply derives political preference.
However, the reforming society still showing the influence can only be motivated by power. From the study Gender Stratification in Contemporary Urban Japan, women do not take as important roles as men do. In large firms, there are more men in management level than women. Interesting as in Ooku, although number of men is weigh significantly more than women, the decision makers are women. When facing a conflicting political view, the women will still be the decision makers.
Drawing a parallel from Ooku society and contemporary society, I find out that the gender roles have differential social division of labors, and especially in Ooku world, the power determinates the gender roles of people. This commons suggest the inequality of power might be the reason for inequality between sexes. Here come to the very realistic question: in contemporary society, we work towards the equality between sexes, and seemingly, we are in good shape to reform our society. However, without a clear concept between sex and power, it is even impossible to understand the fundamental problem of inequality.
otes:
1.This and all discussion about Ooku are taken from Fumi Yoshinaga, Ooku: the Inner Chamber (San Francisco, CA: VIZ Media, 2005).
2.Kodansha Encyclopedia of Japan. s.v. “feminine language”
3.Vera Mackie, Feminism in Modern Japan, edited by Yoshio Sugimoto (New York: Cambridge University Press, 2003), 133
4.Vera Machie, Family and Social Policy in Japan, edited by Roger Goodman (New York: Cambridge University Press, 2002), 204.
5.Susan J. Pharr, “Moralism’ and the Gender Gap: Judgments of Political Ethics in Japan”, Political Psychology 19, no. 1 (1998): 211-236.
6.Mary C. Brinton, “Gender Stratification in Contemporary Japan”, American Sociological Review 54, no. 4 (1989): 549-564.
ibliography
rinton, Mary C. “Gender Stratification in Contemporary Japan”, American Sociological Review 54, no. 4 (1989): 549-564.
Mackie, Vera. “Debating domestic labour – Citizens” in Feminism in Modern Japan, edited by Yoshio Sugimoto, 132-34. New York: Cambridge University Press, 2003. ---“Embodiment, citizenship and social policy” in Family and Social Policy in Japan, edited by Roger Goodman, 204-05. New York: Cambridge University Press, 2002.
harr, Susan J. “‘Moralism’ and the Gender Gap: Judgments of Political Ethics in Japan.” Political Psychology 19, no. 1 (1998): 211-236.
Yoshinaga, Fumi. Ooku: the Inner Chamber. San Fransico, CA: VIZ Media, 2005.
December 14, 11
Author: B.L.
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没检查，直接粘贴，
《大奥 (第1巻)》读后感(二)：这境界.....
~~吉永史这厮绝对是个人精~~她的线条就好比不小心划在白纸上就这么给印刷出来的清淡~~却有着能让人看的眼珠子凸出来还叫好的狠劲!
看吉永史的漫画也断断续续很多年了,年少时美型至上的浅薄观点好在遇到BL就完全无效,现在想来暗自庆幸,好在接触老吉是因为男人与男人之间的爱,如果是BG,估计早就被我甩在十米开外挖个坑把他给埋了.
沉淀到现在大妈的年纪后,清楚的了解到世上除了爹妈给的天生美貌外,还有种叫"人格魅力"的体质存在,不知道老吉是否是,但至少他笔下的人物绝对是.
大奥,豆瓣我之前也介绍过,这剪不断理还乱,三个女人以上就是一群公鸭的故事以两个字"好看"一笔带过后,想不到07年白泉社的老吉居然还给折腾出个漫画版.听着就新鲜,立马就下载个电子版.前前后后也就出了那么一本,还在连载的老吉版的大奥我思前想后的也就蹦出一个字来形容,"绝"啊~~~~
男女逆转的漫画不是就这么一本,后宫美男三千这种事咱老祖宗武老太太就做过,可老吉就想着法子让我们一道联想起爱与诚啊,青春啊(= =关青春鸟事)温暖,笑中带泪这类看着都闪闪发光的词.小日本就爱走这种路线,偏偏老吉走的还那么轻巧,润物细无声,这境界.....
另不得不说句,大奥还是BG啊~~~~= =|||象我等有两只雄性动物以上就开始YY的腐女还心甘情愿的看着水野与阿信这对"苦鸳鸯",你说老吉这境界.....唉....
另,我一直以为水野是男一号呢,花了这么重的笔墨去诠释他,成功的让漫画中的人物们喜欢上他让将军喜欢上他(将军,你才是总攻啊啊)让读者喜欢上他,还以为他就要走上腥风血雨漫漫长路和众美少年们勾心斗角,斗智斗勇,再来个NP,BL ,BG最后落个凄美的结局让世人读者永远缅怀他.....= =+结果,结果!!!!第一本没结束这孩子就跟着自己心爱的阿信逍遥快活去了呀~~~~~T T老吉....老吉啊啊.....
《大奥 (第1巻)》读后感(三)：漫画《大奥》有感：最冷酷的春日局最苦逼的千惠最复杂的有功最寂寞的德子
2011年的日志，慢慢往豆瓣搬
- - - - - - - - - - - - - - - -正文分割线- - - - - - - - - - - - - - - - - - - - - - - -
借用之前看到的一句话作为了标题 ╮(╯_╰)╭
事情起因于我昨天下片子，然后看到了那部《女将军和她的三千后宫》 =口= 这么恶趣味的标题让我一下子悚动了。百度百科告诉我漫画原作居然是吉永史的，吉永史！
作为吉永史的脑残粉，我二话不说就下了《大奥》的漫画原作，然后一发不可收拾，一晚上从卷一追到了卷六。《大奥》太精彩了，我只能用非常非常喜欢来形容。六卷故事从三代将军德川家光、讲到了八代将军吉宗，最完整的还是家光的故事，也就是标题中的人物。
o.1 春日局
说春日局冷酷，一点也没有错。她实际上才是大奥真正的掌权者。当别人问她为什么要这样去逼迫他人生活时，她只有一句“为了没有战乱的和平世界”。那一刻，感动了。
为了和平，她第一时间瞒下了三代将军家光的死讯；为了和平，她硬生生将公主千惠顶上了将军的位置；为了和平，她明知千惠与有功相爱却还是逼迫千惠与不同的男人交合。是她开始了女将军的先河，也是她创立了三千美男的大奥。她不在乎别人的看法，为了维持和平的统治，她什么都可以做，什么都可以放弃。
因此，即使可以说被她毁了全部的人生，无论千惠还是有功都对她保持着尊敬。在她之后，大奥再也没有出过这样的人，这样像一棵雪松一样永远笔直伫立着的老太太。
从战国中走进和平的老太太，或许你不一定会喜欢她，但她却一定值得尊敬。
o.2 有功
第一卷的序章过后，历史的画卷从有功慢慢展开。他出身高贵，学识广博，却一心只想修佛，在他看来，修佛才能拯救苍生。当他成为观主时，他是真的高兴，他的梦想已经在一点点实现，他相信自己能为这个时代做点什么，能为苦难的人们做些什么。但是，春日局的到来改变了这一切，在沾血的长刀面前，他被迫还俗，而他的心里也背上了杀孽。从此，大奥成为了他一生的牢笼。
在我看来，进宫以前的有功像是魏晋时期的隐士，即便被逼纵情声色时也有着自己的风华，因为他心里有大爱、有大智慧。进宫是对有功的第一把杀猪刀。他改了他的京都口音，也放弃了他曾经的梦想。
千惠是有功的意外收获。两个同样被春日局所迫的人，渐渐走到了一起。或许这样下去也没什么不好……那时的有功是否是这样想的呢？
然后又一次，又一把杀猪刀。千惠始终无法受孕，为了和平，依然是为了和平，春日局找来了与有功长相一模一样的阿乐。
千惠与阿乐同床的那一夜，有功毁了整间屋子。这是有功的第一次爆发，也是让我由衷心酸的一幕场景。乱入一句，只一个画面，一句台词，却能让人脑补出有功整夜的痛苦与纠结，吉永大人你果然是神啊！！！
千惠怀孕了，对有功来说的第三把刀。追求完美的有功在承认自己缺陷的同时是怎样的一种心情呢？
阿乐之后是阿夏，阿夏之后是阿玉。我不懂有功将玉荣送到千惠身边，让他代替自己让千惠受孕的心情，但那种痛苦，我却能够想象。
当千惠的传承使命终于完成，当千惠一心与有功再续前缘时，有功说“请让我辞去侍寝”
画面静止了。简单两行字：如果是以前的家光……如果是以前的有功……
但千惠毕竟已经不是以前的千惠了，有功也不再是以前的有功了。
“如你所愿。”
有功成为了大奥总管，也是大奥历史上兼任侧室以及大总管的唯一一人。就任时，有功祚服上的流云纹闪瞎了我的眼。
再也不会有像有功这样的男人在大奥出现。即使在八代将军时，佑之进也能凭借一身模仿阿万的祚服成为八代将军选中的第一人。阿万夫人是大奥一个永远的传奇。
.S. 有功大人，我是你永远的玛丽苏啊玛丽苏~~~
o.3 千惠
千惠和其他几代将军都是不同的，因为她恰恰生在了那个天翻地覆的年代。她作为一个正常的女孩儿被抚养长大，然后一夜之间，忽然男人锐减，忽然女人成了社会的主力，忽然她就没有了自己的名字，顶着父亲的名字成为了将军。她不能理解这种变化，所以她一心逃跑。然后在逃跑路上，遭遇了噩梦。千惠杀了那个男人，却留下了阴影。所以即便在死前，她最后的遗愿也是建立“内证之方”，凡第一个毁了将军处女之身的男人必须得死。这个在后代将军看来匪夷所思的制度，却是千惠最深最重的痛。
遇到有功，是千惠的一次救赎。他们两个人就这样简单地沉浸在幸福中，以为这种幸福会一直持续下去。然后，有功跪在她面前，求她临幸另外一个男人，另外一个会给她孩子的男人。千惠抓狂了。
“让我从这恐怖的男女关系中解脱吧！”
这是千惠的痛苦根源。她获得了男人的地位，却保留着旧时代女性的传统观念。跟八代将军吉宗把爱爱看成调剂身心的点缀不同，千惠的观念里女人的身体是从一而终的，在不同的男人间周转不是她在临幸别人，而是旁人在污辱她。
然而抓狂过后，她只能屈服。先是阿乐、再是阿夏、再是阿玉。千惠成长了。她的眼神一天天平静下来，她会在对阿乐说“你是我孩子的父亲，这点谁都不会否认”以后对有功说“你始终是我的唯一”
用有功的话来说，千惠变了，变得更加坚强，更加美丽。
从一个少女、到少妇到母亲到君王，千惠一点点、一点点成长了起来，最终成为了令有功即便再痛苦也始终深爱的女人，也成为了掌握整个日本的君王。
如果说是春日局让女将军有了开始的话，是千惠让女将军有了未来。因为千惠的睿智和君王气度，世人才接受了女将军的存在，渐渐让女将军成为了一种定制。
而千惠，因为殚精竭虑，年仅27岁就过世了。
在后期的人生里，千惠与有功完全没有了H，甚至交集也少之又少，然而他们之间的爱情却没有丝毫褪色。
千惠死后，有功本可以出家，回到他人生最初的轨迹，但他还是留在了大奥。为了什么呢？为的只是那个女子最后的嘱托。
三代家光将军，其实就是这样一个普通却坚强的女人。
o.4 德子
五代将军纲吉，名叫德子。这个被称为荒淫无道、昏庸无能的狗将军，其实只是一个寂寞的孩子。
因为寂寞，所以将男人玩弄在手中；因为寂寞，所以从不违背父亲的每一个愿望。在故事的最后，当她第一次违背父亲时，父亲扯下的她的外装大概也是蜕去了她对父亲的依赖吧~
德子和右卫门佐的爱情是截然不同于千惠有功的又一种形式。如果说有功和千惠不再H让爱升华的话，德子和右卫门佐却是在故事最后通过唯一一次的H找到了爱。那时候的他们，都已垂垂老矣。一生第一次拥抱，也是最后一次。
德子的一生都是寂寞的，尽管她已经得到了整座大奥所有人的爱。为什么呢？我觉得是因为她不自信，她不相信自己能得到这些爱。
在年幼的吉宗面前，德子怔住了。
这个相貌平平，别说与千惠、德子相比，即便与一般女孩相比容貌也毫无特色的女童，却自信满满的说出了“我不在乎美丑。既然我不在乎，我相信男人中也总有不在乎的人。”这样话的孩子给了她当头棒喝。
当然，像吉宗这样的女人真的也是千年难遇啊！第一卷的时候我确实觉得将军未免长得丑了点，但是看到后面的时候却没办法不承认吉宗是全书中最耀眼的女人。
和千惠的坚强智慧不同，吉宗是完全的天纵英才，经历过几代的发展洗礼，新时代女性吉宗已经完全没有了千惠时代女性的柔弱犹豫，她就是一个君王，将国家前途、军政要事放在首位的一国之主。
《大奥 (第1巻)》读后感(四)：宫廷之中无望的爱恋
如果在国内，就是一篇标准的女尊文，德川幕府女将军与她的后宫们，错综复杂的爱恋。很多家族名称和关系还有人物姓名及官名对不上号，稀里糊涂的看吧。
故事开篇有句话说得好：在男人稀缺的江户时代还霸占众多男人以彰显幕府的“壕奢”的浪费。第一卷本以为是男主的美男子（吉永史每次线条简单纤细，但几笔，笔下的人物韵味、美型就跃然纸上）有才有貌且心地善良，没想到早早就“领了便当”。像男人一样朴素的八代目将军吉宗也很有个性胸怀广阔，不过还没怎么具体展开她的人物性格和具体事件，整个故事从第二卷就开始倒叙，以历史发展顺序介绍历代将军及其大奥们。
最喜欢三代目家光和侧室万里小路有功的故事，纯粹的爱恋，有功大人除了不能生育以外简直完美无缺：众生爱、宽容、美丽、坚韧但又对家光炽烈的爱，为了国家大义自己忍受着心爱的女人去怀其他男人的孩子，一人之下万人之上但又对权力完全没有欲望也没有物欲，行事一丝不苟，助人为乐为他人着想，简直是一股清流圣父的存在，老了满脸皱纹还是那么有风度。家光从小也很可怜，父亲死得早拿她顶岗，小小年纪当儿子藏起来，又早早被奸污却又争强好胜，也就有功看到了她的脆弱和闪光，可惜死得太早了，不到三十岁，要不她和有功长长久久的没孩子的厮守下去也是好的呀。
四代目家纲是个随意将军，酱油角色，不意外的爱上了她娘最心爱的男人，当然了，有功大人这么完美人见人爱花见花开，不愧是家光从和尚时代强制让有功蓄发监禁在大奥之内。
五代目纲吉也是个悲剧女性，早早死了唯一的女儿，又被年老昏聩的父亲拖累，孝顺聪明有政治头脑但是发布了很多失民心的政策，早就没有生育能力了却不得不顶着期望和年轻男子做着没有用的造孩运动，也是目前唯一活到年老的将军，和右卫门佐互相的喜欢到快死了才互相坦明，如果他不那么爱慕权势，也许纲吉不至于那么昏庸，只回馈父亲的爱。
六代目家宣也是个好人，有政绩，可惜也是个短命的，上台三年就死了，左京也是个美男，可惜身为六代目的侧室、七代目的生父却爱上了根本不爱他只爱六代将军的间部。
七代目将军家继四岁继任，年幼的孩子的大奥总管江岛是个难得丑男，温厚淳朴，可惜被奸人陷害，权力争夺的黑暗第一次摆到明面上来，然后七代目早早领了便当，故事主线重新回到八代目将军吉宗公身上，回忆直到29话结束。
从八代目吉宗开始，就开始了正叙“流水账”的日常幕府记录：改革、灾荒、希望能治疗使男人数量锐减的病、闭关锁国、励精图治、晓得自己上位是被忠心耿耿的左膀右臂久通杀掉三个其他候选人得来的。吉宗没有死在任上，而是传位给自己的大女儿，丑陋好男色话都说不清的九代家重，没有传位给长得漂亮又有野心的二女儿宗武（她教唆的她姑娘定信看起来对将军之位野心勃勃），这个看人器量的选择后继人的做法的确不同寻常。
九代将军家重也是还活着时把位子传给自己的女儿成为大御所，十代目家治又是个美人儿了，而且还蛮有政治头脑的。她的御台所是个丹凤眼且温柔的帅哥，也是个短命的。九代家重的御用人田沼成了十代的老中幕僚，并且励精图治，和十代目一样不避嫌启用很多不拘一格的人才：平贺源内虽为女儿身却比任何男人还要坚强有想法，看得远懂得多脑子灵活仗义执言，是个奇葩，青沼还是个混血荷兰人。不过斗不过阴谋，可惜了一个个的治国之才。不过宫斗是历来政治的主旋律，之前和平的权力交接才是少见。期间江户还各种天灾频发，民间全把责任算在了田沼身上。在十代目家治年老昏聩并且被毒杀身亡后，田沼也被革权且没有善终，其派系一阀全都殃及池鱼，青沼被砍头，其学生们被赶走，所有的兰学成果毁于一旦。最聪明博学的平贺源内老师因为之前的阴谋强奸染上了梅毒死于非命，没有亲眼看到齿面痘疮被治愈的一天。
十一代将军算是篡权获得的职位，其母亲治济在幕后一手操纵，利用阴谋干掉前代将军及其幕僚和所有适合担任将军的其他德川家子女，并利用可能的继任者定信当枪使，把他儿子家齐推上将军之位，作为种马不停的生育孩子达55个之多，而她作为皇太后（不用因为生孩子耽误）在幕后操纵政权，弄的民不聊生，而且把看不惯的孙子孙女毒杀，真是恶人中的战斗机，怪物中的怪物。她儿子家齐也是懦弱，从小就在她母亲的阴影和操纵下成长，不敢反抗，哪怕是他母亲当面说让他吃下毒蛋糕他也不违背。不过背地里还是有正义感的，暗地里支持青沼的残余势力黒木研究赤面痘疮的疫苗，并最后在他母亲被御台所毒倒后性格大变，以强硬手段在全国范围内迅速普及疫苗的民间接种，给日本男人数量重新回升奠定了基础，但因为历史必须隐瞒掉这段男女比例严重失调的弱日本，只能留下以好色挥霍财政的无能将军的记录。
十二代将军家庆也是男性，但是存在感就是个恋女癖的乱伦父亲，长相丑陋。早在家齐时期就决定要把将军之位传给他的这个孙女，因为其他都是酒囊饭袋。女将军对幕府开支比较小，孩子生的少，十三代家定，又回归了女性将军。十一代将军的御台所广大院也是个忍辱负重、识大体、善良但又有计谋的好女人，在十一代将军死后作为十二代将军养母的她最大的基础上，靠着她贬黜了十二代将军的势力，把家定拉出了乱伦的地狱。
十三代家定是个美人儿，从小就把她无能好色恶心的老爸迷得神魂颠倒。她的老中首席阿部正弘是个微胖有大智慧的好女人，家族从最初德川家康时期就是死忠家臣，有才能有政治头脑有胸襟（太优秀了），与从吉原娼妓发迹后来成为大奥最后一任总管的美男子瀧山的友谊也很温馨，两人最后都是家定真正的家臣和忠臣，帮助家定作为女性将军上任立下了汗马功劳。第55话中的瀧山穿的流水纹模仿阿万之方——初代大奥总管万里小路，之后来的第三任御台天璋院笃姬所无论还整个人的气度还是样貌都好像有功大人啊❤果然就如同清朝一样，成于一个太后孝庄，败于一个太后慈溪，历史总是一个轮回，有始有终。
《大奥 (第1巻)》读后感(五)：三本《大奥》即获手冢奖只能说明日漫的惨淡现状
吉永史是相当有特色的漫画家，成人向的狡黠幽默加上淡雅优美的画风，在混乱不堪的BL漫画界曾经是比较脱俗的一位。
随着BL的日益堕落贫瘠，吉永史也渐渐收起了她的腐女心，开始画BG向的漫画，近期的大奥就算里面有所谓的男男画面，态度几乎已经是对BL的一种冷淡否定。看大奥的时候觉得吉永史的腐女心已死，不过这其实也算是一种有趣的转变。
故事大纲就不去说它了，单纯觉得连载到年初，整体还显单薄。故事是好看的，人物是有趣的，但怎能和同获手冢奖的阴阳师、浪客行、monster等相提并论...就算是第一届只获了优秀赏的残酷之神的支配下，也比大奥有深度有文学性很多。大奥里展开的有功和女将军的故事只能说是秀雅小品绝对称不上大家风范。
大奥我是推荐的，但获手冢奖太牵强，也许只能说明日漫的创作水平今非昔比了。
《大奥 (第1巻)》读后感(六)：它唤起了我已经遗忘了的对日本漫画的热爱
对“将军”这个称谓，我怀着一种莫名的情愫，记忆深处的第一幅画面是几几年前TVB的《大国崛起》对夏尔·戴高乐的评价：这位将军给法兰西带来了应有的荣耀。
不管在哪个世代哪个国度，将军不似平民，身上载着文人无法取得的赫赫战绩，洋溢着不羁的野性。这一次是吉永史的《大奥》。
我是先想看二宫和也主演的电影，可惜在日本10年10月才上映，起码要等到4月才有DVD，所以只能找来漫画解渴。
第一卷把众所周知的大奥中的男女角色来了一个大逆转：女将军，男侧室。其他小说不是没有这样的情景，但只有它拍成了华丽得让人神往的电影。于是漫画中的一切规则都变得似乎真的是可以曾经存在于世上的。
故事以第八代将军德川吉宗开始讲述。她果真让人感受到男子般的风流不羁，加之在奥内的改革雷厉风行，确确是个精明的上位者。德川明了自己并不名正言顺的出身，用手段谋得大权后施行改革（历史上的吉宗吝啬得被人评论为“小气得像个女人”o(∩_∩)o，漫画中也有她为了省钱而不许奥内男子华装出入），善良地放过本应处死的水野，并完了他和阿信的姻缘。她不只是夺得将军之位，还有在为国家的未来操心。末尾，她对眼下奇怪的规矩产生了深深的疑问，找到御右笔的主笔村濑试图解开谜团。
看过第二卷就会发现，水野在奥内遭遇的比上有功被迫丢弃信仰根本是小菜一碟，而且水野时有较完善的侧室制度，他在很短时间内就被奥内众人所景仰。
.s.我的非完整读书笔记：鉴于按照卷数拆分了，而且我即将外出没有时间修饰。