Bushido 武士道?

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Bushido (武士道?),http://im8-tub-ua.yandex.net/i?id=83410265-58-72&n=21

literally "the way of the warrior", is a Japanese word for the way of the samurai life, loosely analogous to the concept of chivalry. It originates from the samurai moral code stressing frugality, loyalty, martial arts mastery, and honour unto death. Born from Neo-Confucianism during times of peace in Tokugawa Japan and following Confucian texts, Bushido was also influenced by Shinto and Zen Buddhism, allowing the violent existence of the samurai to be tempered by wisdom and serenity. Bushidō developed between the 9th and 20th centuries and numerous translated documents dating from the 12th to 16th centuries demonstrate its wide influence across the whole of Japan,[1] although some scholars have noted "the term bushidō itself is rarely attested in premodern literature."[2]

Under the Tokugawa Shogunate, aspects of bushidō became formalized into Japanese feudal law.[3]

According to the Japanese dictionary Shogakukan Kokugo Daijiten, "Bushidō is defined as a unique philosophy (ronri) that spread through the warrior class from the Muromachi (chusei) period."

The word was first used in Japan during the 17th century.[4] It came into common usage in Japan and the West after the 1899 publication of Nitobe Inazō's Bushido: The Soul of Japan.[5]

In Bushido (1899), Inazō wrote:

...Bushidō, then, is the code of moral principles which the samurai were required or instructed to observe.... More frequently it is a code unuttered and unwritten.... It was an organic growth of decades and centuries of military career.

Nitobe was not the first person to document Japanese chivalry in this way. In his text Feudal and Modern Japan (1896), historian Arthur May Knapp wrote:[6] The samurai of thirty years ago had behind him a thousand years of training in the law of honor, obedience, duty, and self-sacrifice.... It was not needed to create or establish them. As a child he had but to be instructed, as indeed he was from his earliest years, in the etiquette of self-immolation.

Historical development http://upload.wikimedia.org/wikipedia/commons/thumb/1/12/busido_kal.svg/100px-busido_kal.svg.png http://im7-tub-ua.yandex.net/i?id=57348951-14-72&n=21

Early history to 12th century

The Kojiki is Japan's oldest extant book. Written in 712, it contains passages about Yamato Takeru, the son of the Emperor Keiko. It provides an early indication of the values and literary self-image of the Bushidō ideal, including references to the use and admiration of the sword by Japanese warriors.

This early concept is further found in the Shoku Nihongi, an early history of Japan written in 797. The chapter covering the year 721 is notable for an early use of the term "bushi" (武士?) and a reference to the educated warrior-poet ideal. The Chinese term bushi had entered the Japanese vocabulary with the general introduction of Chinese literature, supplementing the indigenous terms tsuwamono and mononofu. It is also the usage for public placement exams.

An early reference to saburau — a verb meaning to wait upon or accompany a person of high rank — appears in Kokin Wakashū, the first imperial anthology of poems, (early 10th century). By the end of the 12th century, saburai ("retainer") had become largely synonymous with bushi, and closely associated with the middle and upper echelons of the warrior class.

Although many of the early literary works of Japan contain the image of the warrior, the term "bushidō" does not appear in early texts like the Kojiki. Warrior ideals and conduct may be illustrated, but the term did not appear in text until the Sengoku period, towards the end of the Muromachi era (1336–1573).[7]

13th to 16th centuries

From the literature of the 13th to 16th centuries, there exists an abundance of references to the ideals of Bushidō. Carl Steenstrup noted that 13th and 14th century writings (gunki monogatari) "portrayed the bushi in their natural element, war, eulogizing such virtues as reckless bravery, fierce family pride, and selfless, at times senseless devotion of master and man."

Compiled in 1371, the Heike Monogatari chronicles the struggle between the Minamoto and Taira clans for control of Japan at the end of the 12th century—a conflict known as the Gempei War. Clearly depicted throughout the Heike Monogatari is the ideal of the cultivated warrior. The warriors in the Heike Monogatari served as models for the educated warriors of later generations, and the ideals depicted by them were not assumed to be beyond reach. Rather, these ideals were vigorously pursued in the upper echelons of warrior society and recommended as the proper form of the Japanese man of arms. By the time of Imagawa Ryoshun's "Regulations" at the beginning of the 15th century, the Bushidō ideal was fairly clear, and the term itself came into widespread use.

Other examples of the evolution in the Bushidō literature of the 13th to 16th centuries included:

The Message Of Master Gokurakuji - Hojo Shigetoki (1198–1261)

The sayings of Sengoku-period retainers and warlords such as Kato Kiyomasa and Nabeshima Naoshige were generally recorded or passed down to posterity around the turn of the 16th century when Japan had entered a period of relative peace. In a handbook addressed to "all samurai, regardless of rank," Kato states:

"If a man does not investigate into the matter of Bushido daily, it will be difficult for him to die a brave and manly death. Thus, it is essential to engrave this business of the warrior into one's mind well."

Kato was a ferocious warrior who banned even recitation of poetry, stating:

"One should put forth great effort in matters of learning. One should read books concerning military matters, and direct his attention exclusively to the virtues of loyalty and filial piety....Having been born into the house of a warrior, one's intentions should be to grasp the long and the short swords and to die."[1]

Naoshige says similarly, that it is shameful for any man to die without having risked his life in battle, regardless of rank, and that "Bushidō is in being crazy to die. Fifty or more could not kill one such a man." However, Naoshige also suggests that "everyone should personally know exertion as it is known in the lower classes."[1]

17th to 19th centuries
http://bits.wikimedia.org/static-1.21wmf7/skins/common/images/magnify-clip.pngJapan enjoyed a period of relative peace during the Sakoku period from 1600 to the mid-19th century, also called the "Pax Tokugawa". During this period, the samurai class played a central role in the policing and administration of the country under the Tokugawa shogunate. The bushidō literature of this time contains much thought relevant to a warrior class seeking more general application of martial principles and experience in peacetime, as well as reflection on the land's long history of war. The literature of this time includes:

  • The Last Statement of Torii Mototada (1539–1600)

  • Kuroda Nagamasa (1568–1623)

  • Nabeshima Naoshige (1538–1618)

  • The Book of Five Rings (Go Rin No Sho) by Miyamoto Musashi (1584–1645)

  • Budoshoshinshu by Taira Shigesuke, Daidōji Yūzan (1639–1730)

  • Hagakure as related by Yamamoto Tsunetomo to Tsuramoto Tashiro.

The Hagakure contains many of the sayings of Sengoku-period retainer Nabeshima Naoshige (1537–1619) regarding Bushidō related philosophy early in the 18th century by Yamamoto Tsunetomo (1659–1719), a former retainer to Naoshige's grandson, Nabeshima Mitsushige. The Hagakure was compiled in the early 18th century, but was kept as a kind of "secret teaching" of the Nabeshima clan until was the end of the Tokugawa era (1867).[8] His saying "I have found the way of the warrior is death" was a summation of the willingness to sacrifice that bushido codified.[9]

Tokugawa-era rōnin scholar and strategist Yamaga Sokō (1622–1685) wrote extensively on matters relating to bushidō, bukyō (a "warrior's creed"), and a more general shido, a "way of gentlemen" intended for application to all stations of society. Sokō attempts to codify a kind of "universal bushidō" with a special emphasis on "pure" Confucian values, (rejecting the mystical influences of Tao and Buddhism in Neo-Confucian orthodoxy), while at the same time calling for recognition of the singular and divine nature of Japan and Japanese culture. These radical concepts — including ultimate devotion to the Emperor, regardless of rank or clan — put him at odds with the reigning shogunate. He was exiled to the Akō domain, (the future setting of the 47 Rōnin incident), and his works were not widely read until the rise of nationalism in the early 20th century.

The aging Tsunetomo's interpretation of bushidō is perhaps more illustrative of the philosophy refined by his unique station and experience, at once dutiful and defiant, ultimately incompatible with the mores and laws of an emerging civil society. Of the 47 Rōnin—to this day, generally regarded as exemplars of bushidō — Tsunetomo felt they were remiss in hatching such a wily, delayed plot for revenge, and had been over-concerned with the success of their undertaking. Instead, Tsunetomo felt true samurai should act without hesitation to fulfill their duties, without regard for success or failure.

This romantic sentiment is of course expressed by warriors down through history, though it may run counter to the art of war itself. This ambivalence is found in the heart of bushidō, and perhaps all such "warrior codes". Some combination of traditional bushidō's organic contradictions and more "universal" or "progressive" formulations, (like those of Yamaga Soko), would inform Japan's disastrous military ambitions in the 20th century.

19th and 20th centuries

Recent scholarship in both Japan and abroad has focused on differences between the samurai class and the bushidō theories that developed in modern Japan. Bushidō in the prewar period was often emperor-centered and placed much greater value on the virtues of loyalty and self-sacrifice than did many Tokugawa-era interpretations.[10] Bushidō was used as a propaganda tool by the government and military, who doctored it to suit their needs.[11] Scholars of Japanese history agree that the bushidō that spread throughout modern Japan was not simply a continuation of earlier traditions.

More recently, it has been argued that modern bushidō discourse originated in the 1880s as a response to foreign stimuli, such as the English concept of "gentlemanship," by Japanese with considerable exposure to Western culture. Nitobe Inazo's bushidō interpretations followed a similar trajectory, although he was following earlier trends. This relatively pacifistic bushidō was then hijacked and adapted by militarists and the government from the early 1900s onward as nationalism increased around the time of the Russo-Japanese War.[12]

The junshi suicide of General Nogi Maresuke and his wife on the death of Emperor Meiji occasioned both praise, as an example to the decaying morals of Japan, and criticism, explicitly declaring that the spirit of bushido thus exemplified should not be revived.[13]

During pre-World War II and World War II Shōwa Japan, bushido was pressed into use for militarism,[14] to present war as purifying, and death a duty.[15] This was presented as revitalizing traditional values and "transcending the modern."[16] Bushido would provide a spiritual shield to let soldiers fight to the end.[17] As the war turned, the spirit of bushido was invoked to urge that all depended on the firm and united soul of the nation.[18] When the Battle of Attu was lost, attempts were made to make the more than two thousand Japanese deaths an inspirational epic for the fighting spirit of the nation.[19] Arguments that the plans for the Battle of Leyte Gulf, involving all Japanese ships, would expose Japan to serious danger if they failed, were countered with the plea that the Navy be permitted to "bloom as flowers of death."[20] The first proposals of organized suicide attacks met resistance because while bushido called for a warrior to be always aware of death, but not to view it as the sole end, but the desperate straits brought about acceptance.[21] Such attacks were acclaimed as the true spirit of bushido.[22]

Denials of mistreatment of prisoners of war declared that they were being well-treated by virtue of bushido generosity.[23] Broadcast interviews with prisoners were also described as being not propaganda but out of sympathy with the enemy, such sympathy as only bushido could inspire.[24]

Yukio Mishima, the famous writer, was outspoken in his by-then anachronistic commitment to bushido in the 1960s, until his ritual suicide by seppuku after a failed coup d'état in November 1970.

Bushidō expanded and formalized the earlier code of the samurai, and stressed frugality, loyalty, mastery of martial arts, and honor to the death. Under the bushidō ideal, if a samurai failed to uphold his honor he could only regain it by performing seppuku (ritual suicide).

In an excerpt from his book Samurai: The World of the Warrior,[25] historian Stephen Turnbull describes the role of seppuku in feudal Japan:

In the world of the warrior, seppuku was a deed of bravery that was admirable in a samurai who knew he was defeated, disgraced, or mortally wounded. It meant that he could end his days with his transgressions wiped away and with his reputation not merely intact but actually enhanced. The cutting of the abdomen released the samurai’s spirit in the most dramatic fashion, but it was an extremely painful and unpleasant way to die, and sometimes the samurai who was performing the act asked a loyal comrade to cut off his head at the moment of agony.

Bushidō was widely practiced, varying little over time, and across the geographic and socio-economic backgrounds of the samurai, who at one time represented up to 10% of the Japanese population.[26] The first Meiji era census at the end of the 19th century counted 1,282,000 members of the "high samurai", allowed to ride a horse, and 492,000 members of the "low samurai", allowed to wear two swords but not to ride a horse, in a country of about 25 million.[27]

Bushidō includes compassion for those of lower station, and for the preservation of one's name.[1] Early bushidō literature further enforces the requirement to conduct oneself with calmness, fairness, justice, and propriety.[1] The relationship between learning and the way of the warrior is clearly articulated, one being a natural partner to the other.[1]

Other parts of the bushidō philosophy cover methods of raising children, appearance, and grooming, but all of this may be seen as part of one's constant preparation for death — to die a good death with one's honor intact, the ultimate aim in a life lived according to bushidō. Indeed, a "good death" is its own reward, and by no means assurance of "future rewards" in the afterlife. Notable samurai, though certainly not all (e.g. Amakusa Shiro), have throughout history held such aims or beliefs in disdain, or expressed the awareness that their station — as it involves killing — precludes such reward, especially in Buddhism. On the contrary, the soul of a noble warrior suffering in hell or as a lingering spirit is a common motif in Japanese art and literature. Bushidō, while exhibiting the influence of Dao through Zen Buddhism, is a philosophy in contradistinction to religious belief, with a deep commitment to propriety in this world for propriety's sake.

Major figures associated with Bushidō

  • Asano Naganori

  • Imagawa Ryōshun

  • Katō Kiyomasa

  • Morihei Ueshiba

  • Sakanoue no Tamuramaro

  • Tadakatsu Honda

Nobuhiko Takada http://im4-tub-ua.yandex.net/i?id=74113059-64-72&n=21 http://im4-tub-ua.yandex.net/i?id=276239246-11-72&n=21 http://im8-tub-ua.yandex.net/i?id=39096993-49-72&n=21

born April 12, 1962) is a Japanese mixed martial arts fighter and professional wrestler. He was the founder of PRIDE Fighting Championships and the HUSTLE Wrestling Organization.

He is best known for helping to popularize shoot-style professional wrestling, as one of the biggest stars of the Universal Wrestling Federation and Union of Wrestling Force International in the '80s and '90s. Despite his irregular fight record and kayfabe politics, Takada is credited with the existence of PRIDE and the Japanese MMA boom, and is widely considered to be on


Early Years: New Japan, UWF, and Newborn UWF

Nobuhiko Takada made his professional wrestling debut in 1981 against Norio Honaga, for New Japan Pro Wrestling, where he started his career as a Junior Heavyweight. He left NJPW in 1984, along with Rusher Kimura, Akira Maeda, Ryuma Go, Mach Hayato, and Gran Hamada, to form the original Universal Wrestling Federation.

The original UWF dissolved in 1986. Takada and Akira Maeda returned to NJPW and formed a UWF stable. Only a few months later, Takada defeated Shiro Koshinaka to capture the IWGP Junior Heavyweight Championship, which he held for four months. In 1987, Takada moved to the Heavyweight ranks. Along with Akira Maeda, he won the IWGP Tag Team Championship from rival, Koshinaka & Keiji Mutoh. He left NJPW in 1988 to form the second incarnation of the Universal Wrestling Federation called Newborn UWF, becoming one of its top stars.

Leader of the UWFI Boom

In December 1990, Newborn UWF closed its doors. Takada formed the Union of Wrestling Force International, using former UWF wrestlers, while Maeda formed Fighting Network RINGS, and Fujiwara formed Pro Wrestling Fujiwara Gumi. As the top star of the UWFI, Takada had feuds with Gary Albright and Super Vader. In 1992, Takada was awarded an old NWA World Heavyweight Title belt by Lou Thesz, after defeating Albright, and was proclaimed the "Real Pro-Wrestling World Heavyweight Champion". He defended the title until Thesz withdrew the belt in 1995, losing the Title once, to Super Vader. The high point of his reign came on December 5, 1993, when he defeated Super Vader before 46,168 fans at Tokyo's Meiji-Jingu Stadium.

Return to New Japan

In 1995, Takada returned to NJPW as the key figure in the landmark New Japan vs UWFI program. On October 9, 1995, Takada's match against IWGP Champion, Keiji Mutoh, drew 67,000 fans to the Tokyo Dome, drawing the largest crowd and gate in Japanese Wrestling history, at the time. Three months later, Takada defeated Mutoh in a rematch, before 64,000 fans, to capture the IWGP Heavyweight Championship, becoming the only wrestler to hold all three major New Japan Titles. Takada dropped the Title to Shinya Hashimoto on April 29, 1996, drawing a crowd of 65,000 and a gate of $5.7 million. When it was all said and done, the New Japan vs UWFI was the biggest moneymaking feud in Japanese pro-wrestling history.

Transition to MMA

In December 1996, the UWFI folded after the failure of the UWFI-WAR feud. Takada entered the world of mixed martial arts by joining PRIDE Fighting Championships.

Though Takada's submission wrestling skills were never doubted either by the Japanese public or the matchmakers, it was his conditioning that would make the essential difference. Takada, being in his 30s at the time of his debut and in less than perfect conditioning, owing to the grueling Japanese pro wrestling circuit, posed little challenge for the experienced, well conditioned mixed martial arts fighters. Further, Takada never had martial arts nor real fight training, and he had to rely in his shoot wrestling abilities to hold his own.

Nobuhiko Takada's debut in MMA was against Rickson Gracie, which ended in Gracie winning via armbar. Takada would then go on to finish kickboxer Kyle Sturgeon by a heel hook at PRIDE 3 in Sturgeon's first and last MMA match.[3] Takada wanted a rematch with Rickson Gracie, to which Gracie agreed, saying that "I feel Takada is a warrior and deserves the chance to try and redeem himself".[4] The rematch was held at PRIDE 4. The match ended with Takada again losing via armbar in a fight lasting 9 minutes and 30 seconds.

Takada fought his next match at PRIDE 5, against Mark Coleman. Though thought to be the much better fighter, Coleman was caught by a heel hook from Takada and submitted. Regarding his performance against Takada, Coleman said in an interview, "It was what it was. I needed to support my family. They guaranteed me another fight after that and I needed that security. It was what it was. I'm going to leave it at that."[5]

Takada was then pitted against Mark Kerr, a freestyle wrestler with similar ground and pound fighting style as Mark Coleman. However, Kerr was able to slip on a submission hold and make Takada tap out in just over 3 minutes at PRIDE 6. Then at PRIDE 7 he beat Alexander Otsuka by a TKO when he put him in a rear naked choke and passed out and the referee stopped the fight (the fight was removed from the Pride 7 DVD). The Otsuka match is widely believed to have been a professional wrestling bout and is not included in Takada's fight record on the highly respected Sherdog mixed martial arts website.[6]

Takada competed in the PRIDE Grand Prix 2000 Opening Round. He was pitted against Royce Gracie - the match went the distance and to a decision. The Brazilian master could neither control nor submit Takada in the assigned 15-minute time limit. However, the judges ruled in favor of Gracie and he advanced to the next round. Takada's next MMA event participation was in PRIDE 11, where he lost to a young Igor Vovchanchyn via submission (strikes). Nobuhiko Takada would then go on to draw the likes of Mike Bernardo and Mirko Filipović before entering his final match against former student, Kiyoshi Tamura (Tamura won by a KO).


Приведемо декілька фактів, що свідчать про згубний вплив паління на людське здоров'я:
         - систематичне паління віднімає у людини від 6 до 15 років життя;
         - людина, що палить більше 10 років, хворіє в чотири рази частіше, ніж та що не палить;
         - паління є однією з основних причин таких захворювань як інфаркт міокарду, рак легенів, виразки різних відділів шлунково-кишкового тракту і спазми судин нижніх кінцівок, що призводять до їх відмирання;
         - паління завдає пригноблюючої дії на залози внутрішньої секреції, що є одним з супутніх чинників розвитку імпотенції у чоловіків;
         - паління неминуче призводить до жовтизни і зморшкуватості шкіри обличчя, слабкості м'язів і появи огидного запаху з рота (дівчата та жінки, прислухайтеся!).

Ваше паління завдає негативного впливу і на вашу дитину. При чому цей вплив полягає не тільки в прямому погіршенні здоров'я дитини від тютюнового диму, але і в поганому прикладі, який ви подаєте.

Якщо ви палите, але сподіваєтеся, що зможете виростити свою дитину такою, що не палить – ви, найімовірніше, помиляєтеся. Згідно результатів статистичних досліджень, у батьків, що палять, в 70 відсотках випадків дитина також палитиме, тоді як у батьків, що не палять, цей показник складає лише 10%.

Вживання алкоголю

Що стосується вживання алкоголю, то тут ситуація схожа. Алкоголь завдає руйнівної дії на всі без виключення органи і системи організму і є причиною безлічі різних захворювань. Проте основна вражаюча дія алкоголю направлена на кору головного мозку і репродуктивну систему людини.

Головний мозок.

         При вживанні алкоголю еритроцити крові злипаються один з одним (цьому сприяє порушення електричного потенціалу на їх поверхні) і, таким чином, закупорюють дрібні судини (капіляри) в організмі. Коли цей процес відбувається в мозку, то в результаті кисневого голодування гинуть тисячі нейронів головного мозку, що приводить до поступової втрати пам'яті і мислення людини.

Репродуктивна система.

         Молекули алкоголю вільно проникають всередину статевих кліток людини (сперматозоїди у чоловіків і яйцеклітини у жінок) і порушують ланцюжки ДНК, які несуть набір генної інформації про майбутню людину, внаслідок чого різко підвищується вірогідність народження неповноцінної дитини або дитини з фізичною потворністю (заяча губа і т.д.).

Пам'ятайте, що для народження здорової дитини необхідно відмовитися від вживання алкоголю за 3 місяці до зачаття.

Якщо ви вирішили вести здоровий спосіб життя, то знайте, що паління та вживання алкоголю зводить нанівець всі ваші зусилля по загартовуванню, правильному харчуванню і руховій активності.

Відмовтеся від своїх шкідливих звичок і будьте здоровими!

James Eugene "Jim" Carrey

(born January 17, 1962) is a Canadian American actor, comedian, and producer. Carrey has received four Golden Globe Award nominations, winning two. Known for his highly energetic slapstick performances, he has been described as one of the biggest movie stars in Hollywood

Carrey first gained recognition in 1990 after landing a recurring role in the sketch comedy In Living Color. His first leading roles in major productions came with Ace Ventura: Pet Detective (1994), Dumb and Dumber (1994), The Mask (1994), and Ace Ventura: When Nature Calls (1995). In 1997, he gave a critically acclaimed performance in Liar Liar, which earned him a Golden Globe Award nomination for Best Actor. He then starred in the critically acclaimed hits The Truman Show (1998) and Man on the Moon (1999), with each garnering him a Golden Globe Award for Best Actor.

In 2000, he gained further recognition for his portrayal of the The Grinch in How the Grinch Stole Christmas. Three years later, Carrey starred in the major blockbuster film Bruce Almighty (2003). The following year he starred in Eternal Sunshine of the Spotless Mind (2004), for which he received another Golden Globe nomination in addition to a BAFTA Award nomination. He then starred in popular productions Lemony Snicket's A Series of Unfortunate Events (2004), Fun with Dick and Jane (2005), Yes Man (2008), A Christmas Carol (2009), and Mr. Popper's Penguins (2011).

In 2013 he is starring in The Incredible Burt Wonderstone as Steve Gray, and Kick-Ass 2 as Colonel Stars and Stripes. Carrey is in talks to reprise his role of Lloyd Christmas in Dumb and Dumber To, and he stated in March 2013 that the film will hopefully be worked on in 2014.[4] In 2012, it was announced that he will star in a sequel to Bruce Almighty.

James Eugene Carrey was born in Newmarket, Ontario, Canada, the son of Kathleen (née Oram), a homemaker, and Percy Carrey (1927-1994), a musician and accountant. He has three older siblings, John, Patricia, and Rita. He was raised Roman Catholic. His mother was of French, Irish, and Scottish descent and his father was of French Canadian ancestry (the family's original surname was Carré).

During an interview with James Lipton at The Actor's studio, Jim stated "My father was a musician who got a 'regular job' to support his children. When he lost his job that's when everything fell apart. We went from 'lower middle class' to 'poor'. We were living out of a van. I quit school at age 15 to begin working to help support my family as a janitor. I'd have a baseball bat on my janitor cart because I was so angry I just wanted to beat the heck out of something." After his family moved to Scarborough, Ontario, he attended Blessed Trinity Catholic School, in North York, for two years, enrolled at Agincourt Collegiate Institute for another year, then briefly attended Northview Heights Secondary School. Jim never finished high school because he worked full-time to help his family survive the severe economic hardship, and also helped care for his mother who battled a severe, chronic illness.


While struggling to obtain work and making a name for himself, Carrey's father decided to help the young comedian put together a stage act, driving him to Toronto to debut at comedy club Yuk Yuk's. Unfortunately, Carrey's impersonations bombed and this gave him doubts about his capability as a professional entertainer. His family, at the time, were struggling financially meaning it was difficult for them to support Carrey's ambitions. Eventually, the family's financial problems were dealt with and they moved into a new home. With a now more domestic stability, Carrey worked up the nerve to return to the stage with a more polished act. In a short period of time, Carrey went from open mic nights to regular paid shows; a growing reputation building in the process. One reviewer in the Toronto Star raved that Carrey was "a genuine star coming to life Carrey was soon noticed by comedian Rodney Dangerfield, who signed the young comedian to open Dangerfield's tour performances. Dangerfield eventually brought Carrey to Las Vegas, after which he decided to move to Hollywood. Carrey began performing at The Comedy Store and in 1982, appeared on the televised stand-up show An Evening at the Improv.] The following year, he debuted his act on The Tonight Show.

Despite his increasing popularity as a stand-up comedian, Carrey turned his attention to the film and television industries, auditioning to be a cast member for the 1980–1981 season of NBC's Saturday Night Live. Carrey was not selected for the position (although he did host the show in May 1996, and again in January 2011). He was, after a period of time, cast in several low-budget films: Rubberface (1981) playing a struggling young comic, and Copper Mountain (1983) playing a sex-starved teen, the latter including his impersonation of Sammy Davis Jr. Since the film had a less than one hour runtime consisting largely of musical performances by Rita Coolidge and Ronnie Hawkins, it was not considered a full-length feature film.

In 1984, Carrey was suddenly cast as the lead in the NBC sitcom The Duck Factory, in which he played a quirky young artist alongside Jay Tarses. However, the show was unceremoniously cancelled during its first season. Despite the sudden cancellation, Carrey landed supporting roles in several low-budget films: Once Bitten (1985), Peggy Sue Got Married (1986), and The Dead Pool (1988). When Carrey returned to stand-up, he retired his old act vowing that he didn't want to be famous for imitating other people; "Some nights it was a melee, literally, where I'd be standing trying to defend myself for what I was doing. People would be screaming at me to do my old act, and getting actually violent and angry at me".[18] While many thought he was "crazy" for retiring his old act, others were increasingly interested in what Carrey was attempting to do, Judd Apatow in particular. The pair struck up a friendship and soon began writing material together.

Carrey did not experience true stardom until landing the lead role in the slapstick comedy Ace Ventura: Pet Detective (1994), which premiered only months before In Living Color ended. Despite agreeing to play the title character, Carrey would only take the role if he was allowed to rewrite the script, mostly to suit his over-the-top visions. The film, while dismissed by most critics, was an international hit, and transformed Carrey into a bankable box-office star overnight. In that same year, he landed two lead roles in The Mask and Dumb and Dumber, respectively. The Mask garnered him his first Golden Globe Award for Best Actor nomination, with Roger Ebert of the Chicago Sun-Times praising him for his "joyful performance".[20] Well received by critics, Dumb and Dumber was a commercial success, grossing over $270 million worldwide,[21] and again boosting Carrey's fanbase.

In 1995, Carrey starred in the Joel Schumacher-directed superhero film Batman Forever, in which Batman tries to stop Two-Face and the Riddler (played by Carrey) in their villainous scheme to drain information from all the brains in Gotham City. The feature received reasonable reviews upon release with most criticism aimed towards the movie's "blatant commercialism", as stated by Peter Travers.[22] In that same year, Carrey reprised his role as Ace Ventura in Ace Ventura: When Nature Calls. Like the original film, it was well received by the public but heavily criticised by critics. However, it was a huge box-office success, earning $212 million worldwide in addition to breaking records, with a $40 million opening weekend.[23] Carrey earned $20 million for his next film, The Cable Guy (1996). Directed by Ben Stiller, Carrey played a lonely, slightly menacing cable TV installer who infiltrates the life of one of his customers (played by Matthew Broderick). The film tested Carrey's boundaries of his tried and true "hapless, hyper, overconfident" characters that he is known for regularly playing. However, it did not fare well with critics, many reacting towards Carrey's change of tone to previous films.[24] Despite the reviews, The Cable Guy grossed $102 million worldwide.[25]

He soon bounced back in 1997 with the critically acclaimed comedy Liar Liar, playing Fletcher Reede, an incredibly successful lawyer who has built his career on lying, regularly breaking promises that he makes to his son Max. Max soon makes a birthday wish that for just one day, his dad can't tell a lie. Carrey was praised for his performance, earning a second Golden Globe Award nomination for Best Actor. Janet Maslin of The New York Times said, "Well into his tumultuous career, Mr. Carrey finally turns up in a straightforward comic vehicle, and the results are much wilder and funnier than this mundane material should have allowed."[26]

. In 2000, Carrey reteamed with the Farrelly Brothers, who had directed him in Dumb and Dumber, in the comedy classic, Me, Myself & Irene, a film that received mixed reviews[33] but enjoyed box office success. Carrey played the role of state trooper Charlie Baileygates, who has multiple personalities and romances a woman portrayed by Renée Zellweger. That same year, Carrey starred in the second highest grossing Christmas film of all time, How the Grinch Stole Christmas, playing the title character, for which he received praise and criticism.[34] The film garnered him his third Golden Globe Award nomination in addition to countless other nominations and several wins.

For his next feature film, Carrey starred opposite Jennifer Aniston and Morgan Freeman in Tom Shadyac's international hit comedy Bruce Almighty (2003). Carrey played a TV newsman who unexpectedly receives God's omnipotent abilities when the deity decides to take a break. The film received mixed reviews upon release[ but despite this was a financial success, earning over $484 million worldwide, and going on to become the seventeenth highest-grossing live action comedy of all time. The film has since gained a cult following.[23][36] In 2004, Carrey starred in Eternal Sunshine of the Spotless Mind. The film received overwhelming acclaim upon release; Carrey was highly praised for his portrayal of Joel Barish, in addition to his co-star Kate Winslet, who received an Oscar nomination. According to CNN's reviewer Paul Clinton, Carrey's performance was "the best, most mature and sharply focused performance ever."[37] He received his fourth Golden Globe Award nomination, and was also nominated for his first BAFTA Award for Best Actor in a Leading Role.


Carrey's next appearance was in the 2004 black comedy drama film Lemony Snicket's A Series of Unfortunate Events, which was based on the popular children's novels of the same name. The film received a positive reception, with Desson Thomson from The Washington Post commenting on Carrey's approach to the character of Count Olaf, stating "Olaf is a humorless villain in the book. He's not amusing like Carrey at all. To which I would counter: If you can't let Carrey be Carrey, put someone boring and less expensive in the role. In his various disguises he's rubbery, inventive and improvisationally inspired. I particularly liked his passing imitation of a dinosaur."[38][39] That same year, Carrey was inducted into the Canadian Walk of Fame.[40] In 2005, Carrey starred in a remake of Fun with Dick and Jane, playing Dick, a husband who becomes a bank robber after he loses his job. The film was dismissed by most critics but did manage to become a box office hit.


Carrey at the 2009 Cannes Film FestivalPeter Farrelly said in April 2012 that Carrey and Jeff Daniels would return for a Dumb and Dumber sequel, Dumb and Dumber To, with the Farrelly brothers writing and directing and a planned September 2012 production start. In June, however, Carrey's representative said Carrey had left the project because the comedian felt New Line and Warner Bros. were unenthusiastic toward it. However, on October 1, 2012, Yahoo!'s "The Yo Show" carried the news item that the script is complete and that the original actors, Carrey and Daniels, will, in fact, be reprising their roles and that part of the plot will involve one of the characters having sired a child and needing to find the child in order to obtain a kidney. In March 2013, Carrey stated that he hoped that he and Jeff Daniels were excited about doing the film, and were hoping to do so in 2014

In March 2013, Carrey announced that he had written a children's book titled Roland Rolls, about a scared wave named Roland. He described it as, "kind of a metaphysical children's story, which deals with a lot of heavy stuff in a really childish way". Carrey is self-publishing the book, which will be released in September 2013.

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