The Legend of Zelda: Breath of the Wild brings many changes to the franchise. The dark themes of the game, while not exactly a change, certainly stand out. Ruins are everywhere and people are relegated to small settlements. Overlooking these settlements and ruins are shrines. Deep inside these strange relics of technology long lost, past lethal trials and puzzles, you will find a strange sight for the Legend of Zelda: mummies.
Well, they aren’t exactly strange. Mummies appear throughout the series, but these mummies are strange because they aren’t enemies–they are failed protectors. You’ll find them enshrined behind a barrier and wearing the garb of Sheikah clerics. As a reward for clearing the trials, they offer you a spirit orb, the manifestation of their spiritual power. What’s more, you’ll see these mummies wait in various meditative poses straight out of Buddhist texts. It’s unusual for the Legend of Zelda to show such distinct religious elements. You’ll see hints, like the shield emblem from the original Legend of Zelda, but you don’t usually see a distinct religious practice. The mummies you see are based on reality: sokushinbutsu.
Those Who Want to Die for Others
A Chinese sokushinbutsu believed to be Liuquan, the master of the Chinese Meditation School who died around the year 1100 Image Source
Sokushinbutsu or “Buddhas in Their Very Body” aren’t considered mummies by their worshipers. Mummies are made by preserving the body after death, but these monks aren’t considered dead by followers. Rather, their spirits are preserved in their bodies in a state of deep meditation (Clements, 2016).
Would-be sokushinbutsu follow a path set by the founder of the Shingon tradition, Kukai. He believed it was possible to attain Buddhahood in the believer’s current body instead of some future incarnation as other schools believe. For his part, Kukai is said to be eternally meditating somewhere at Mt. Koya. In fact, the tradition closely associates with mountains including Mt. Yudono, Mt. Haguro, and Mt. Gassan. The belief led monks to practice harsh austerities such as fasting and reciting sutras under icy waterfalls and, for some, self-mummification.
Why would anyone want to mummify themselves? Well, it’s believed sokushinbutsu have a strong motivation to help people in need. They freely offer their powers to save people from problems that range from starvation to taxes. Sokushinbutsu are rare, which adds to their mystique and powers. About 21 sokushinbutsu are found in Northern Japan, and we know of 9 more from historical records. The oldest dates to 1683 and the most recent dates to 1903. This monk was enshrined only after World War II (Clements, 2016). The desire to help people in their suffering drove a few men (only men can become sokushinbutsu) to undergo the process.
Sokushinbutsu are found in China as well. A Chinese Buddhist statue contains the remains believed to be of Liuquan, the master of the Chinese Meditation School who died around the year 1100. We don’t know for certain if he mummified himself, but researchers suspect he went through the process. According to Vincent van Vilsteren, a museum curator (Winter, 2015; Self-made Mummy, 2015):
“We suspect that for the first 200 years, the mummy was exposed and worshiped in a Buddhist temple in China. Only in the 14th century did they do all the work to transform it into a nice statue.”
How to Mummify Yourself
Back in Japan, the self-mummification process builds from the already ascetic diet of Shingon monks. Monks who want to become sokushinbutsu observed a strict diet that forbids meat, alcohol, rice, wheat, soybeans, adzuki beans, black sesame seeds, barnyard grass (maybe backyard grass is okay?), millet, foxtail millet, buckwheat, and corn. They usually ate nuts, roots, and pine bark. The diet made sure the monk didn’t have body fat to decay. Some monks ate bark and sap from the tree used to make lacquer.
They would also seclude themselves in the mountain in 1,000 day intervals. Some for as long as 4,000 days or just shy of 11 years. Cold winters and daily cold water meditation practices combined with being forbidden to seek medical help killed many would-be sokushinbutsu before they could reach their goals. After this period ended, they would start the mummification process–such as drinking tea poisonous enough to deter maggots (Winters, 2015). The process ended with being buried alive with only a tube to allow them to breath. They would then meditate until starvation claimed them.
Then, 3 years and 3 months later, people exhumed the new sokushinbutsu, dressed him in clerical robes, and enshrined him. The Shingon tradition believes these monks will remain in deep mediation until Maitreya, the Future Buddha, descends from Tusita Heaven in the distant future (Clements, 2016). Maitreya is thought to come after the dharma (the path to compassion/enlightenment) is forgotten in the future and succeed Śākyamuni as the Buddha (the current Buddha).
Failure and Loneliness in Breath of the Wild
The mummies we find in Breath of the Wild‘s shrines pull from this tradition. These monks went into the shrines to meditate and await the coming of the Hero, becoming sokushinbutsu in the process. Tragically, they could do nothing to protect the people outside the shrines from the destruction that befell them. Throughout Breath of the Wild, you’ll see people seeking out the shrines–some looking for blessings or help. But the eternals inside could do nothing.
Now, I’ve seen people complain about how empty the world of Breath of the Wild is (it is mostly wilderness, after all). But the landscape acts as a storytelling method. That emptiness, the loneliness, speaks to the destruction and suffering that happened. The shrines housing the powerless sokushinbutsu add to this story. Throughout the game, you encounter people who have accepted their helplessness and the brutal life they live. You see people attacked outside the shrines and scattered settlements. Breath of the Wild reveals what happens when heroes fail.
The use of sokushinbutsu speaks of the level of desperation and fear within Breath of the Wild. Over 120 people willingly mummified themselves in order to await the hero. That means far more failed in the attempt and died in the process. What’s more, they did this 10,000 years before events in Breath of the Wild. Yet, in the end their sacrifice turned out to be in vain. When Ganon arrived, they could do nothing to stop him from murdering the populace.
The theme of loneliness runs deep through Breath of the Wild. The story even centers on on it, and how the hero can’t succeed alone. Sokushinbutsu, like many of the other design choices you see throughout the game, emphasizes this theme.
Clements, F. W. (2016). The Buddhas of Mount Yudono: Sacred Self-Mummification in Northern Japan. Expedition, 58(2), 30-34.
At the end of January, I had the privilege to witness a benshi performance, which impressed me immensely. Finally, it led to me writing this blog post. So, what am I actually talking about?
In Japan, silent films were never truly silent
A still from the 1929 silent film “Tokyo March”
Western audiences may be faintly aware that in the first cinemas, at least a pianist used to accompany silent films, if there wasn’t an entire orchestra at hand. As we still experience today, music is very effective in conveying emotion, atmosphere, and a sense of urgency or suspense regarding the story unfolding on screen.
But in Japan, they went far beyond that. The story of cinema in Japan begins with imports of western movies, showing scenes that were strange and exotic to Japanese viewers. Thus, these scenes needed explaining, and this is where the origin of the benshi lies. Literally, the word means ‘orator’ or ‘speaker’, and benshi started out as ‘film explainers’. Soon, however, they also became commentators, narrators, entertainers and voice actors. Some may pinpoint the development to a single person – “Somei Saburo was the first of these narrators who could be called a benshi. Rejecting the oft-assumed role of playing outside observer, Saburo chose to imitate, voice, and personify the characters depicted on the screen.”[i] – but a parallel development seems more likely.
Owing to their origin as explainers of western ‘exotic’ contexts, benshi tended to dress in western attire, commonly tuxedo and top hat.
Sawata Midori, allegedly the most famous contemporary benshi.
This trend continues until present day, as the most famous of today’s benshi, Sawato Midori, performs in suit and bow tie – despite the fact that, unusual for a benshi then and now, she is a woman. The benshi I watched, Kataoka Ichirō, is one of her students. At the beginning of the performance, he remarked that at the height of benshi popularity, in the 1920s, there were over a thousand of them active in Japan. The most popular of them earned more than the Prime Minister! In fact, cinema goers didn’t go to see a specific movie for its director or its actors so much as for the benshi performing it.[ii] Now, however, there are only about 10 benshi left, and (as Kataoka assured us) he, at least, earns significantly less than the Prime Minister.
In contrast to the tradition, Kataoka dresses in traditional Japanese garb for his performances. About half of the short films he showed to us that night were period pieces, however, so it fit with the general theme.
…and the medium
In the old days, benshi manipulated the films they showed as they saw fit. To this day, they script their own texts for each movie, including the dialogue, even if the original script is available. Their performance unfolds in addition to, or sometimes at odds with, the intertitles. Often, though, Japanese silent films would not even have intertitles, since the directors knew the benshi would take care of narrative coherence and transition. Now, if the benshi’s dialogue took longer to perform than the scene allowed for, he would just instruct the man at the projector to lower the projection speed a little.[iii] This also led to a tendency in Japanese early film to use long, uninterrupted shots to allow the benshi time for his performance. Of cause, if he found a sequence boring, he might turn it into a comedic interlude and crank up the speed to get it over with.
A still from the silent animated movie “The Monkeys’ Masamune”
In short, the main attraction was the vocal performance, and the film was only the raw material. Sometimes, the benshi would comment on the action, drawing attention to the fictitiousness of the story, in an almost Brechtian fashion.[iv] The relationship between film and ‘explanation’ was in fact reversed: “the images themselves being the illustration of an independently existing storyline.”[v]
Benshi might also use their position for political propaganda, as was the case with the war films during the Russo-Japanese war of 1904/5[vi]. Korean benshi likewise attempted to instigate rebellion against the Japanese colonial rule.[vii] The benshi‘s immense popularity was a major factor in the comparatively late start of sound film in Japan – but when progress finally took hold, the ‘talkies’ made the benshi obsolete.
Japan has a rich history of performance art, and the benshi can be linked to a number of them. The narrators of Kabuki theatre are prominent and visible.
Benshi Asou Yata, sporting a very fitting mustache.
So is the chanter of bunraku puppet plays, who also lends his voice to the silent puppet characters, much like the benshi voice the actors on screen.[viii] Furthermore, oral narrative performance art has a long tradition. In the Middle Ages, you could listen to biwa-hōshi, blind itinerant monks who recited war epics while accompanying themselves on a lute. To this day, there are performances of conversational comedy called rakugo.[ix] (Incidentally, the garments of rakugo performers may be another influence on Kataoka’s costume choice.) Even the master-student training system used by the benshi was adapted from other traditional Japanese arts.[x]
Because of these connections, benshi performing film were not a radically new thing, but rather a development based on older art forms. The links between theatre and film ran so deep that some theatres employed a number of benshi, some of them female, to feature in a single performance of “live dubbing”.[xi] For some time, there were also mixed shows, where part of the action was acted live on stage, part filmed beforehand and dubbed live.[xii]
Narrative: A performance of Kataoka Ichirō
Kataoka Ichirô, almost as I have seen him.
It is at the end of January, 2017, in Trier, an ancient but small city in western Germany, close to the borders of Luxembourg and France. The Romans have left some impressive ruins, and Karl Marx was born in one of the strangely diagonal streets south of the market square. Today, the Broadway cinema, in cooperation with the department of Japanese studies of Trier university, presents a short film screening with benshi narration. At that time, I’m struggling to pinpoint the thesis of my Master’s dissertation. I have no clear idea what a benshi is, but it sounds interesting – especially since one of the films on the list is about Jiraiya, the toad mage, for whom I have a soft spot. Upon arriving at the cinema, I buy a bottle of German lemonade with real caffeine and sit down with a book. The performer is here already, and I shyly admire the traditional Japanese clothing he wears. Two other students of Japanese Studies join me at my table and update me on the goings-on in the student council. One of them is very excited because, he says, he is interested in everything about the Taishō period (1912-26). We sit down in the higher part of the screening room; it has a seating capacity of about a hundred and is 2/3 full at least. Someone from cinema management says a few words of greeting and presents Kataoka, not without mispronouncing his name, of course. Then Kataoka introduces himself. He has a pleasant, tough not very remarkable, speaking voice and is quite proficient in English, which is, sadly, quite unusual for a Japanese. At first, the audience is somewhat hesitant to respond to him (German stiffness, probably), but they mellow during the first film.
Lump Theft and Monkeys’ Masamune
Tengus’ banquet scene from the silent animated film “Lump Theft”.
“I know this one”, I whisper to my neighbour, the Taishō enthusiast, as the screen flickers to grey and yellowish life. The first film is an animated short, about two old men with lumps and the karmic justice visited on them, quite by accident. “It’s on youtube.”[xiii]
How different it feels now, though! With the onset of the strange music – well, strange to modern Western ears at least, I cannot even discern the instruments – Kataoka’s performance beings. He does so in Japanese, of course, but someone has kindly provided subtitles, tailored to this specific event. As the introductory intertitle appears, the benshi’s voice turns into the solemn, melodious whine of a traditional Japanese narrator. He croaks like friendly raven once he voices the old man, produces the servile chatter of low-rank Tengu mountain goblins, as well as the rumbling laugh and growled anger of the goblin king. This feels just like anime now! If it weren’t for the moments when he, clearly on purpose, speaks even if characters are drawn with their mouths closed, or stays still when they seem to speak.
When that first movie is over, I am sitting on the edge of my seat for the next one, but that’s a fable with a somewhat dubious morale. A hunter trying to shoot an ape is wrong, but cutting a boar in half with a sword seems to be perfectly fine.[xiv] Between films, Kataoka gives us some facts in English about benshi practise and history.
Little Tarô, absorbed in his new toy.
Bad mannered hippos!
I am impressed by the third film because it mixes two styles we now mostly see as distinct. In a live-action sequence, a little boy receives a toy train from his father as a present. The dress and movement of the actors give me the feeling that historical knowledge only get you that far. This grainy movie has more life in it than any textbook on the Taishō era. Anyways, the boy finally goes to bed, enamoured with his new toy, and dreams of being a conductor. The dream sequence is animated; and full of anthropomorphic animals.[xv] It’s nice comedy and also instructive, explaining how to behave on a train. Seems to have been effective, since the Japanese are usually very pleasant, and quiet, train passengers. Kataoka takes the comedic tone of the piece to slip in a few jokes of his own, as one of ‘his’ characters metanarratively remarks on this being a black and white movie. In one instance, there was even a self-reflective joke in the subtitles!
The movie I like best, though, is Tokyo March.[xvi] It’s a complicated, kabuki-esque plot of love found and lost, mistaken identity, rivalry and family secrets, and Kataoka excels in portraying the characters- from young men to an old woman, from the sad heroine to the lecherous and finally gilt-ridden father.
The heroine, foced to become a geisha, is weary of unwanted attention.
Japanese speech patterns, of course, are highly codified by age, gender, class/profession and region. Which intonation, harshness or softness of voice, and what pitch one uses, how one refers to oneself, how questions, commands and states of emotional excitement are marked with specific particles, differs according to these criteria. I guess that makes the benshi’s voice-acting possible, if complicated. As an additional treat, the ending of the movie had some insensely, um, homosocial lines, which made my inner fangirl squee.
“My happiness will never be complete without you, Yoshiki.”
Frog VS Snake VS Slug, the classical threeway tie.
In fact, I keep forgetting the benshi’s presence because I get so absorbed in the characters and their story… I am only jolted out of it when Kataoka’s script diverges from the action. However, here he keeps a superb balance of immersion and alienation. By contrast, in his rendition of the Jiraiya movie, his narration seems to run off course a bit too much. He turns the confusing film into somewhat of a coherent story, but clearly this is only possible by intensively reinterpreting and repurposing the images. Perhaps I am getting tired, too. In any case, if you fancy a pretty young woman transforming into a slug, or warriors beaten back by lawn sprinklers, good entertainment, give it a try.[xvii] It’s the first special effects movie made in Japan, apparently.
The last film is a modern homage to silent film, and in direct contrast with the originals before, the difference is easy to spot. The pictures are too clear, the resolution too high, and the sudden tilts into yellow, blue or red seem exaggerated. There are scratch marks superimposed on the image, but it takes me only a few minutes to notice the repeating pattern. That being said, the story itself, about a jealous samurai and his bloody revenge, is interesting, and Kataoka once again amazes me with the variety of voices at his command.
Quite an experience, that was.
Poster of the most popular “morning drama”, Oshin. This genre makes extensive use of voice-over narration, especially at the beginning of each episode.
Benshi may have all but disappeared, but they sure have left a mark on the Japanese visual narrative. It’s not just Kataoka’s amazing versatility, which reminded me of some modern-day anime voice actors. Or that anime sometimes employ similar speaking styles in voice-over narration. In general, Japanese film features wide angles and long takes – perhaps in memory of the benshi who once needed the time to perform. And finally, voice-over and concluding narration is relatively common in Japanese live-action TV, which might be a legacy of the benshi.[xviii]
In addition, after the advent of sound film, some benshi who had lost their jobs became kamishibai artists. Kamishibai or paper theatre is a street art combining hand-drawn slides and vocal narration. It is seen a precursor of modern manga – the Manga Museum in Kyōto has a whole room dedicated to kamishibai, with an actor performing in period clothing. So, here we have another direct link with modern visual narrative.
Long story short, if you get the chance to see Kataoka or one of his colleagues perform, I strongly recommend going.
[ii] Yomota Inuhiko, transl. Uwe Hohmann: Im Reich der Sinne. 100 Jahre japanischer Film. Frankfurt am Main: Stroemfeld, 2007, p 26; see also J.L. Anderson: “Spoken Silents in the Japanese Cinema; or, Talking to Pictures: Essaying the Katsuben, Contextualizing the Texts”. In: Arthur Noletti Jr. & David Desser: Reframing Japanese Cinema. Authorship, Genre, History. Indiana UP, 1992, pp. 359-311, p. 261.
Each day is a journey, and the journey itself home
Matsuo Bashō was born in 1644 in the town of Ueno to a minor samurai family. While he is best known for his haiku in the West, his travel journals broke ground in Japanese literature. In his teen years, Bashō entered the service of Todo Yoshikiyo, who was also a poet. According to traditional accounts of his life, Bashō worked as part of the kitchen’s staff before being introduced to Kitamura Kigin (1624-1705), one of the best poets of Kyoto at the time. Through Kigin, Bashō was able to become a professional poet and move to Edo (Carter, 1997). He began as a haikai poet. A haikai is a type of poem made of linked verses (Norman, 2008). Bashō went by many names before settling on the one we know: Kiginsaku, Toshichiro, Tadaemon, Jinshichiro, and Munefusa. His first haiku was published under the name of Tosei, which translates to “green peach.” The name pays homage to Bashō’s favorite Chinese poet Li Po (or “white plum”) (Norman, 2008). Bashō wrote over 1,000 haikus in his lifetime. Unlike other poets of his time, Bashō focused on the everyday moments. He tried to capture the moment a bird took wing or a frog jumped (Biallas, 2002). He never claimed there was a single way to write good haiku. Instead, he argued a good poem came from a flash of insight and jotting it down immediately (Heyd, 2003).
Let me digress a moment. Haiku is a 19th century contraction of hokku no haikai. A haiku is a 3 line poem that follows a specific pattern of ji-on, or symbol-sounds. Ji-on are made up of a single vowel or a consonant + vowel. Haiku lines follow this pattern: 5-7-5. Let’s look at an example from Bashō.
The man next door, what
does he do for a living?
aki fukaki tonari wa nani o suru hito zo
I highlighted every symbol-sound to help you see how the 5-7-5 rule works. Haiku doesn’t try to rhyme. It focuses on the symbol-sound pattern and its imagery. Haiku often use a word or expression (called a ki-go) to pin down the time of the year. This sets the mood of the poem. Autumn, for example, has a lonely feeling. Ki-go act as shorthand to convey feelings, ideas, or meaning in as few words as possible….if you understand what feelings, ideas, or meanings are associated with the ki-go. Weather conditions and animals can act as ki-go. Weather conditions and animals have strong associations with certain seasons. Such as rain showers and spring here in the United States. Before Bashō, haikai poetry fixed on the tastes of the courtly elite or funny topics that appealed to the merchant class. Bashō’s poetry focused on common, everyday experience. Basho defined what we know of as haiku.
In 1680, Bashō gave up his practice in a way that amounts of professional suicide. He gave up his professional status and moved outside of Edo. He wrote this poem the same year:
On a bare branch
A crow has settled down to roost.
In autumn dusk.
His students followed him and built him a home. They also gave him basho trees (a type of banana). He began writing under that name, and it stuck with him: Basho. During this time, he studied Zen but struggled with spiritual beliefs. In 1682, his house was caught in the fire that burned most of Edo (Norman, 2008). He mourned the event:
Tired of cherry,
Tired of this whole world,
I sit facing muddy sake
And black rice.
Part of the reason he moved was to avoid his fame, but people still followed and pestered him. He had to resort to locking his gate to escape. Of course, he wrote about it:
Only for morning glories I open my door—During the daytime I keep it tightly barred.
Despite people calling him a master poet, Basho felt dissatisfied with his writing. Many times he wanted to give it up altogether. He called his writing “mere drunken chatter, the incoherent babbling of a dreamer” (Biallas, 2002). His discontent seemed to be one reason why he decided to take to the road starting in 1684. His first journal, Journal of a Weather-Beaten Skeleton, captures the difficulty of travel at the time. That hardship becomes a reoccurring theme in his later journals. He traveled several times between 1687-1688 and wrote about the experiences in Kashima Journal and Manuscript in a Knapsack. The journals combined prose and haiku, a combination called haibun (Heyd, 2003; Norman, 2008). He often focused on little things he observed while on the road:
Piercing the rock
The cicada’s song.
It is hard to us to imagine the difficulty of travel at the time. People traveled on foot with few rest stops and exposure to wind, rain and lice. Bashō even wrote about the trouble lice caused him: “Shed of everything else, I still have some lice I picked up on the road—Crawling on my summer robes.” He wrote about how rice-planting songs were a part of poetic tradition and wrote about the refinement of people found in rural villages. At the time, only those who lived in cities and belonged to the upper classes were thought of as refined. Equating country farm songs with samurai class poetry was also a break in the thinking of that time.
In his mid-40s, Basho grew tired of his fame. Despite his frail health, he decided on taking a pilgrimage to locations important to Japanese religious, literary, and military history. In May 1689, he set out with his friend Sora, a backpack, writing materials, and a few changes of clothes. We walked for 5 months, during which he penned his masterpiece, Narrow Road to a Far Province. The book spoke of a spiritual journey while Basho made his living on the road as a teacher (Carter, 1997). The entire journey involved walking 1,200 miles through some of the roughest terrain of Japan. Some of the roads were little more than trails.
The months and days are the travelers of eternity. The years that come and go are also voyagers. Those who float away their lives on ships or who grow old leading horses are forever journeying, and their homes are wherever their travels take them. Many of the men of old died on the road, and I too for years past have been stirred by the sight of a solitary cloud drifting with the wind to ceaseless thoughts of roaming.
Last year I spent wandering along the coast. In autumn I returned to my cottage on the river and swept away the cobwebs. Gradually the year drew to its close. When spring came and there was mist in the air, I thought of crossing the Barrier of Shirakawa into Oku. I seemed to be possessed by the spirits of wanderlust, and they all deprived me of my senses. The guardian spirits of the road beckoned, and I could not settle down to work.
I patched my torn trousers and changed the cord on my bamboo hat. To strengthen my legs for the journey I had moxa burned on my shins. By then I could think of nothing but the moon at Matsushima. When I sold my cottage and moved to Sampû’s villa, to stay until I started on my journey, I hung this poem on a post in my hut:
kusa no to mo
sumikawaru yo zo
hina no ie
Even a thatched hut
May change with a new owner
Into a doll’s house.
This is the introduction to Narrow Road (Keene, 1996). Moxa was a medical treatment of ground mugwort used to treat or prevent various diseases. Notice how he combines prose with haiku. The next excerpt has Bashō visiting a castle.
The three generations of glory of the Fujiwara of Hiraizumi vanished in the space of a dream. The ruins of their Great Gate are two miles this side of the castle; where once Hidehira’s mansion stood are now fields, and only the golden cockerel Mountain remains as in former days.
We first climbed up to Castle-on-the-Heights, from where we could see the Kitagami, a large river that flows down from the north. Here Yoshitsune once fortified himself with some picked retainers, but his great glory turned in a moment into this wilderness of grass. “Countries may fall, but their rivers and mountains remain. When spring comes to the ruined castle, the grass is green again.” These lines went through my head as I sat on the ground, my bamboo hat spread under me. There I sat weeping, unaware of the passage of time.
His travel journals read a little like modern day travel guides. Bashō visited major military, literary, and religious landmarks. The bits of history help give a context.
Bashō died in 1694. He remains one of the most important poets in Japanese history, and his work are the first school children learn. His travel journals inspire pilgrimages in an effort to reconnect with a literary tradition. Many anime like Samurai Champloo pull inspiration from a travel tradition Bashō made famous. He wasn’t the first traveling poet, but he stands as one of the best loved. The calligrapher Soryu wrote this epilogue in the Narrow Road:
Once had my raincoat on, eager to go on a like journey, and then again content to sit imagining those rare sights. What a hoard of feelings, Kojin jewels, has his brush depicted! Such a journey! Such a man!
Biallas, L (2002) Merton and Basho: The Narrow Road Home. Merton Annual. 15 77.
Carter, S. (1997) On a Bare Branch: Basho and the Haikai Profession. American Oriental Society. 117 (1). 57-69.
Heyd, T. (2003) Basho and the Aesthetics of Wandering: Recuperating Space, Recognizing Place, and Following the Ways of the Universe. Philosophy East and West. 53 (3) 291-307.
Keene, D. (1996) The Narrow Road to Oku.
Norman, H. (2008) On the Poet’s Path. National Geographic. http://ngm.nationalgeographic.com/2008/02/bashos-trail/howard-norman-text
The Life and Influence of Matsuo Bashō was last modified: January 29th, 2017 by Chris Kincaid
It seems to be the most gripping kind of tale: The fight against a monster. Our heroes may confront it literally, as a demonic creature or a mad serial killer, or more symbolically, in the faceless grinding mechanisms of society, or the depths of their own subconscious.
The Japanese monsters categorized as yōkai are fascinating to me, not only because of their ever-changing appearance and narratives but also for their function in cultural discourse. A couple of years ago, I wrote an essay about the classic Yōkai daisensō, “Great Yōkai War”-chapter in Mizuki Shigeru’s manga Gegege no Kitarō, and while the material in doubtlessly somewhat dated now, I still consider it interesting enough to bear retelling in this blog.
The Father of Modern Monster Manga
Mizuki (Mura) Shigeru, 2010.
Mizuki Shigeru was one of the most influential mangaka of the 20th century. He was born as Mura Shigeru in 1924, most likely in Ōsaka, and grew up in the remote town of Sakaiminato (“border harbour”) which faces the Sea of Japan. In his own autobiographical stories, he marks two eras of his life as most important: Firstly, his childhood, when an old woman told him stories about yōkai and thus built the foundation of his lifelong attention to them. Secondly, his war experiences, especially the time he spent convalescing in the village of Rabaul in Papua New Guinea after the loss of his left arm. In his works, he often idealizes the life of the natives: “as if I had somehow come upon a fairyland”. Besides the spooky stories about Gegege no Kitarō, see below, Mizuki also illustrated numerous yōkai, some of which he invented or gave physical appearance for the first time. He also created a number of influential autobiographical narratives and the award-winning Showa: A History of Japan. Mizuki was active as an artist far into old age; he died in November 2015. It is a great regret of mine that I never managed to visit the museum devoted to him during my stay in Japan.
Monsters and Japanese Identity
Kitarô being his usual caefree self.
In contrast to ever-raising action levels and expectation-driven heroes who developed from the model of Tezuka Osamu’s protagonists such as Astroboy, Mizuki’s Kitarō is a more ambiguous, more laid back figure. And a decidedly uncanny one, of cause. As the last descendant of a spirit tribe, Kitarō usually functions as mediator between yōkai and humans. In the story Yōkai daisensō, “The Great Yōkai War” (1966), however, Kitarō allies with a group of yōkai to liberate an island from an occupation by Western monsters. This story reflects two important moments of Japanese Post-War culture and politics: The American occupation and the re-emerging discourse of Japaneseness.
A Transformation of the historical situation
In Yōkai daisensō, Mizuki addresses the real conflict of the American occupation of Japan by shifting it into a fantastic otherworld. The “monstrous” concepts of American occupation and war itself take physical form as Western monsters and thus return to the public conscious, where they can be worked through and resolved. For, as Japanese studies scholar Fabio Gygi puts it, “[t]he only way to exorcise a monster […] is to conjure it, that is, paradoxically, to make it appear”. Doubly distanced in the otherworld of monsters and the island of Kikaigashima, a fictitious location at the tip of Okinawa (the very edge of Japan), the trauma becomes safe to handle. In addition, criticism of the present situation, which might be a dangerous topic in realistic works, becomes possible in a fantastic scenario.
Western Monsters as Occupation Force
Three of the four western monsters.
Scholar of Japanese Media studies Zilia Papp analyses four approaches to the monster-war-theme in her 2009 article. Regarding the Kitarō manga, she emphasizes the anti-American theme. In earlier narratives about monster wars, yōkai symbolized the alien Other, including foreigners, and were defeated by Japanese human characters. By contrast, Kitarō and a band of yōkai depart to aid a child in markedly Asian dress (he is wearing a Vietnamese hat) against clearly western monsters. Thus, Mizuki uses Japanese monsters to represent the Self and “stereotypical western monsters” for the enemy. Namely, the antagonists are a witch, a wolfman, Dracula and Frankenstein’s monster, and the design of the latter two clearly alludes to American cinema. In addition, “[a]nalogies to the Pacific War (1942-45), the Battle of Okinawa (1945) and the Vietnam War (1959-75) are articulated” in text and image. As a result, a clear confrontation between Japanese and American representatives emerges.
The company departs.
Yōkai, Japanese Monsters, as icons of Japaneseness
In her analysis of the ikai (otherworld) motif in Japanese literature of the 1990s, professor for Japanese literature Lisette Gebhardt states that an otherworld may include aspects of the alien and the afterlife. It serves as construction site for new patterns of identification. In the 1960s, new identification patterns were also certainly necessary after the collapse of the military system of wartime Japan. Moreover, the development from wartime shortages and destruction to the economic growth of the 50s and 60s necessitated a redefinition of what it meant to be Japanese. This definition often arises from texts of the nihon(jin)ron or “discourse of (the) Japan(ese)”. Cultural Anthropologist Aoki Tamotsu proposes a subdivision of modern Japanese history according to the prevalent type of nihonjinron. Kitarō would fall into the early third phase, in which Japanese cultural traditions were revalidated. Fittingly, Michal Dylan Foster in his epochal study Pandemonium and Parade (2009) describes Mizuki’s works as “(re)discovery of the yōkai as pop-culture icon”. Kitarō assembles yōkai from all over Japan to assist the child from the occupied island, thus his group comes to represent Japan as a whole. With their roots in local myth and folklore, yōkai are symbols of Japan in its perceived cultural uniqueness.
It is not only their clear-cut confrontation of American monster villains and Japanese yōkai which marks the latter as representatives of the Japanese (reader him/her) self. Mizuki also uses visual techniques to encourage identification with the yōkai boy Kitarō. Initially overpowered by the Western monsters, Kitarō faces the chief villain, a tentacle-sprouting, floating, one-eyed creature named Beādo. In this scene, Kitarō’s pitiful state is evident in the loss of this hair and his ancestral vest Chanchanko, two of his usually effective weapons. This alone activates the reader’s sympathy and thus identification.
Kitarô faced with the main villain.
Moreover, he is positioned with his back to the reader in a pose used to provoke identification at least since Caspar David Friedrich’s romantic landscape paintings. We look over his shoulder and share his perception. The well-known manga Akira (Ōtomo Katsuhiro, 1982-90) also uses this method, as manga scholar Miriam Brunner describes. “His body protrudes […] into the picture and invites the viewer’s identification […]. Passing beyond his upper body, the recipient’s eye is guided” toward the panel focus, in this case the looming figure of Beādo. Mizuki is usually very conventional with his panel designs. Therefore, it is noteworthy that this panel is the only instance in Yōkai daisensō where a character stands completely outside his panel and as close as possible to the reader. Mizuki thereby emphasizes the equation of yōkai and Japanese reader in this moment of failure and helplessness before an overpowering Western force. This of course makes the final triumph of the yōkai all the sweeter.
Nostalgia for a phantom
Mizuki reworks past trauma and present distress in a fantastic realm. His reference to ancient yōkai folklore is an emphasis of cultural tradition which can be contextualized in the search for a new identity after defeat and rapid economic growth. In so doing, he also gives form to a yearning for a less complex, less globalized world; a ‘truly Japanese’ world untainted by both war and westernization. Foster describes this emotional state as one of melancholy desire: “nostalgia might be characterized as a longing for a past (time, place, self) that is impossible to (re)claim because it no longer exists or, more likely, never did.” The fantasy of a magical Japan populated by yōkai satisfies this yearning for an unalienated home.
The manga confronts and works through past and present political and cultural crises, while at the same time it supports the formation of a positive consciousness of Japaneseness through fantastic nostalgia. In this way, the Great Yōkai War illustrates a specific moment in Japanese cultural history and history of thought.
Notes and References
 Foster, Michael Dylan (2008): “The Otherworlds of Mizuki Shigeru”. In: Mechademia 3, 8–28. 12.
 Mizuki Shigeru, Musume ni kataru otōsan no senki, 148-149, as quoted in Foster 2008:21.
 The most influential German manga scholar, Jaqueline Berndt, discusses this contrast. See Berndt, Jaqueline (1995): Phänomen Manga. Comic-Kultur in Japan. Berlin: Ed. q (Japan-Edition).63-65.
 Some of his adventures are available in English translation, also courtesy of Mr. Davisson. When I originally wrote my essay, though, I had to work exclusively with Japanese-language material since the only available translation was a French one.
 Gygi, Fabio (2008): “Mnemonic Monsters. Memory, Oblivion and Continuity in Japanese Popular Culture”. In: Minikomi 75, 5-12. 6.
 Papp, Zilia (2009): “Monsters at War. The Great Yōkai Wars, 1968-2005”. In: Mechademia 4, S. 225–239.
 Gebhardt, Lisette (1999): “Ikai. Der Diskurs zur ‘Anderen Welt’ als Manifestation der japanischen Selbstfindungs-Debatte”. In: Irmela Hijiya-Kirschnereit (ed.): Überwindung der Moderne? Japan am Ende des zwanzigsten Jahrhunderts. Frankfurt am Main: Suhrkamp, S. 146–171. 147.
 Foster, Michael Dylan (2009a): Pandemonium and Parade. Japanese Monsters and the Culture of Yōkai. Berkeley, Los Angeles: University of California Press. 164.
 This enigmatic name might refer to the pirate Blackbeard, so that the tentacle-like appendices become a beard. Alternatively, Beādo may actually be a bugbear, a folktale creature whose main purpose seems to be to frighten children. https://www.merriam-webster.com/dictionary/bugbear
 Brunner, Miriam (2009): Manga – die Faszination der Bilder. Darstellungsmittel und Motive. Dissertation. München: Fink. 94-5, my translation.
 Foster, Michael Dylan (2009b): “Haunted Travelogue. Hometowns, Ghost Towns, and Memories of War”. In: Mechademia 4, S. 164–181.176.
Manga images taken from:
Mizuki Shigeru (1996[1959-67]): Gegege no Kitarō. Complete new edition. Tōkyō: Komikkusu. (“Yōkai daisensō”, Vol. 2, 119-171.)
Note: This account dates to 1871 and contains unconventional spellings for transliterations. For example, daimyo is spelled daimio. It also uses British-English spellings of words such as honour. I decided to retain these spellings and retain the old grammar rules to help you become used to these conventions. As you dig through old stories (the oldest English translations of most Japanese stories date to the late Tokugawa period and early Meiji period), you will encounter unusual transliterations. Western Japanese studies were in their infancy. With some translations, you will even encounter sections of Latin. You don’t have to worry about that with this account. Latin was used to represent imperial Japanese, the language of the imperial court during older periods of Japanese history. You will see Latin in the Kojiki and other documents that have gods and emperors conversing. Lafcadio Hearn, in particular, used this convention in his translations.
A ronin was a samurai who didn’t serve a lord. This story about a band of ronin remains a favorite in Japan. It represents the values of bushido, or the samurai code of honor. Forty-seven Ronin accounts a true event in Japanese history with a few flourishes, of course. The event is also known as the Ako incident or Ako vendetta.
While some of the details are questionable, scholars consider this account by A.B Freeman-Mitford authoritative.
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. Samurais in Armour Retrieved from http://digitalcollections.nypl.org/items/510d47d9-c600-a3d9-e040-e00a18064a99
At the beginning of the eighteenth century there lived a daimio, called Asano Takumi no Kami, the Lord of the castle of Ako, in the province of Harima. Now it happened that an Imperial ambassador from the Court of the Mikado having been sent to the Shogun at Yedo, Takumi no Kami and another noble called Kamei Sama were appointed to receive and feast the envoy; and a high official, named Kira Kotsuke no Suke, was named to teach them the proper ceremonies to be observed upon the occasion. The two nobles were accordingly forced to go daily to the castle to listen to the instructions of Kotsuke no Suke. But this Kotsuke no Suke was a man greedy of money; and as he deemed that the presents which the two daimios, according to time-honoured custom, had brought him in return for his instruction were mean and unworthy, he conceived a great hatred against them, and took no pains in teaching them, but on the contrary rather sought to make laughing-stocks of them. Takumi no Kami, restrained by a stern sense of duty, bore his insults with patience; but Kamei Sama, who had less control over his temper, was violently incensed, and determined to kill Kotsuke no Suke.
One night when his duties at the castle were ended, Kamei Sama returned to his own palace, and having summoned his councilors to a secret conference, said to them: “Kotsuke no Suke has insulted Takumi no Kami and myself during our service in attendance on the Imperial envoy. This is against all decency, and I was minded to kill him on the spot; but I bethought me that if I did such a deed within the precincts of the castle, not only would my own life be forfeit, but my family and vassals would be ruined: so I stayed my hand. Still the life of such a wretch is a sorrow to the people, and to-morrow when I go to Court I will slay him: my mind is made up, and I will listen to no remonstrance.” And as he spoke his face became livid with rage.
Now one of Kamei Sama’s councillors was a man of great judgment, and when he saw from his lord’s manner that remonstrance would be useless, he said: “Your lordship’s words are law; your servant will make all preparations accordingly; and to-morrow, when your lordship goes to Court, if this Kotsuke no Suke should again be insolent, let him die the death.” And his lord was pleased at this speech, and waited with impatience for the day to break, that he might return to Court and kill his enemy.
But the councillor went home, and was sorely troubled, and thought anxiously about what his prince had said. And as he reflected, it occurred to him that since Kotsuke no Suke had the reputation of being a miser he would certainly be open to a bribe, and that it was better to pay any sum, no matter how great, than that his lord and his house should be ruined. So he collected all the money he could, and, giving it to his servants to carry, rode off in the night to Kotsuke no Suke’s palace, and said to his retainers: “My master, who is now in attendance upon the Imperial envoy, owes much thanks to my Lord Kotsuke no Suke, who has been at so great pains to teach him the proper ceremonies to be observed during the reception of the Imperial envoy. This is but a shabby present which he has sent by me, but he hopes that his lordship will condescend to accept it, and commends himself to his lordship’s favour.” And, with these words, he produced a thousand ounces of silver for Kotsuke no Suke, and a hundred ounces to be distributed among his retainers.
When the latter saw the money their eyes sparkled with pleasure, and they were profuse in their thanks; and begging the councillor to wait a little, they went and told their master of the lordly present which had arrived with a polite message from Kamei Sama. Kotsuke no Suke in eager delight sent for the councillor into an inner chamber, and, after thanking him, promised on the morrow to instruct his master carefully in all the different points of etiquette. So the councillor, seeing the miser’s glee, rejoiced at the success of his plan; and having taken his leave returned home in high spirits. But Kamei Sama, little thinking how his vassal had propitiated his enemy, lay brooding over his vengeance, and on the following morning at daybreak went to Court in solemn procession.
Art and Picture Collection, The New York Public Library. (1900 – 1940). Samurai warrior in armour. Retrieved from http://digitalcollections.nypl.org/items/c261ef12-e4eb-3577-e040-e00a18067776
When Kotsuke no Suke met him his manner had completely changed, and nothing could exceed his courtesy. “You have come early to Court this morning, my Lord Kamei,” said he. “I cannot sufficiently admire your zeal. I shall have the honour to call your attention to several points of etiquette to-day. I must beg your lordship to excuse my previous conduct, which must have seemed very rude; but I am naturally of a cross-grained disposition, so I pray you to forgive me.” And as he kept on humbling himself and making fair speeches, the heart of Kamei Sama was gradually softened, and he renounced his intention of killing him. Thus by the cleverness of his councillor was Kamei Sama, with all his house, saved from ruin.
Shortly after this, Takumi no Kami, who had sent no present, arrived at the castle, and Kotsuke no Suke turned him into ridicule even more than before, provoking him with sneers and covert insults; but Takumi no Kami affected to ignore all this, and submitted himself patiently to Kotsuke no Suke’s orders.
This conduct, so far from producing a good effect, only made Kotsuke no Suke despise him the more, until at last he said haughtily: “Here, my Lord of Takumi, the ribbon of my sock has come untied; be so good as to tie it up for me.”
Takumi no Kami, although burning with rage at the affront, still thought that as he was on duty he was bound to obey, and tied up the ribbon of the sock. Then Kotsuke no Suke, turning from him, petulantly exclaimed: “Why, how clumsy you are! You cannot so much as tie up the ribbon of a sock properly! Any one can see that you are a boor from the country, and know nothing of the manners of Yedo.” And with a scornful laugh he moved towards an inner room.
But the patience of Takumi no Kami was exhausted; this last insult was more than he could bear.
“Stop a moment, my lord,” cried he.
“Well, what is it?” replied the other. And, as he turned round, Takumi no Kami drew his dirk, and aimed a blow at his head; but Kotsuke no Suke, being protected by the Court cap which he wore, the wound was but a scratch, so he ran away; and Takumi no Kami, pursuing him, tried a second time to cut him down, but, missing his aim, struck his dirk into a pillar. At this moment an officer, named Kajikawa Yosobei, seeing the affray, rushed up, and holding back the infuriated noble, gave Kotsuke no Suke time to make good his escape.
Then there arose a great uproar and confusion, and Takumi no Kami was arrested and disarmed, and confined in one of the apartments of the palace under the care of the censors. A council was held, and the prisoner was given over to the safeguard of a daimio, called Tamura Ukiyo no Daibu, who kept him in close custody in his own house, to the great grief of his wife and of his retainers; and when the deliberations of the council were completed, it was decided that, as he had committed an outrage and attacked another man within the precincts of the palace, he must perform _hara-kiri_,–that is, commit suicide by disembowelling; his goods must be confiscated, and his family ruined. Such was the law. So Takumi no Kami performed hara-kiri, his castle of Ako was confiscated, and his retainers having become Ronins, some of them took service with other daimios, and others became merchants.
Now amongst these retainers was his principal councillor, a man called Oishi Kuranosuke, who, with forty-six other faithful dependants, formed a league to avenge their master’s death by killing Kotsuke no Suke. This Oishi Kuranosuke was absent at the castle of Ako at the time of the affray, which, had he been with his prince, would never have occurred; for, being a wise man, he would not have failed to propitiate Kotsuke no Suke by sending him suitable presents; while the councillor who was in attendance on the prince at Yedo was a dullard, who neglected this precaution, and so caused the death of his master and the ruin of his house.
So Oishi Kuranosuke and his forty-six companions began to lay their plans of vengeance against Kotsuke no Suke; but the latter was so well guarded by a body of men lent to him by a daimio called Uyesugi Sama, whose daughter he had married, that they saw that the only way of attaining their end would be to throw their enemy off his guard. With this object they separated and disguised themselves, some as carpenters or craftsmen, others as merchants; and their chief, Kuranosuke, went to Kioto, and built a house in the quarter called Yamashina, where he took to frequenting houses of the worst repute, and gave himself up to drunkenness and debauchery, as if nothing were further from his mind than revenge. Kotsuke no Suke, in the meanwhile, suspecting that Takumi no Kami’s former retainers would be scheming against his life, secretly sent spies to Kioto, and caused a faithful account to be kept of all that Kuranosuke did. The latter, however, determined thoroughly to delude the enemy into a false security, went on leading a dissolute life with harlots and winebibbers. One day, as he was returning home drunk from some low haunt, he fell down in the street and went to sleep, and all the passers-by laughed him to scorn. It happened that a Satsuma man saw this, and said: “Is not this Oishi Kuranosuke, who was a councillor of Asano Takumi no Kami, and who, not having the heart to avenge his lord, gives himself up to women and wine? See how he lies drunk in the public street! Faithless beast! Fool and craven! Unworthy the name of a Samurai.”
And he trod on Kuranosuke’s face as he slept, and spat upon him; but when Kotsuke no Suke’s spies reported all this at Yedo, he was greatly relieved at the news, and felt secure from danger. One day Kuranosuke’s wife, who was bitterly grieved to see her husband lead this abandoned life, went to him and said: “My lord, you told me at first that your debauchery was but a trick to make your enemy relax in watchfulness. But indeed, indeed, this has gone too far. I pray and beseech you to put some restraint upon yourself.”
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. (187-). Japanese Yakonin in dress of ceremony Retrieved from http://digitalcollections.nypl.org/items/510d47d9-c596-a3d9-e040-e00a18064a99
“Trouble me not,” replied Kuranosuke, “for I will not listen to your whining. Since my way of life is displeasing to you, I will divorce you, and you may go about your business; and I will buy some pretty young girl from one of the public-houses, and marry her for my pleasure. I am sick of the sight of an old woman like you about the house, so get you gone–the sooner the better.” So saying, he flew into a violent rage, and his wife, terror-stricken, pleaded piteously for mercy.
“Oh, my lord! unsay those terrible words! I have been your faithful wife for twenty years, and have borne you three children; in sickness and in sorrow I have been with you; you cannot be so cruel as to turn me out of doors now. Have pity! have pity!”
“Cease this useless wailing. My mind is made up, and you must go; and as the children are in my way also, you are welcome to take them with you.”
When she heard her husband speak thus, in her grief she sought her eldest son, Oishi Chikara, and begged him to plead for her, and pray that she might be pardoned. But nothing would turn Kuranosuke from his purpose, so his wife was sent away, with the two younger children, and went back to her native place. But Oishi Chikara remained with his father.
The spies communicated all this without fail to Kotsuke no Suke, and he, when he heard how Kuranosuke, having turned his wife and children out of doors and bought a concubine, was grovelling in a life of drunkenness and lust, began to think that he had no longer anything to fear from the retainers of Takumi no Kami, who must be cowards, without the courage to avenge their lord. So by degrees he began to keep a less strict watch, and sent back half of the guard which had been lent to him by his father-in-law, Uyesugi Sama. Little did he think how he was falling into the trap laid for him by Kuranosuke, who, in his zeal to slay his lord’s enemy, thought nothing of divorcing his wife and sending away his children! Admirable and faithful man!
In this way Kuranosuke continued to throw dust in the eyes of his foe, by persisting in his apparently shameless conduct; but his associates all went to Yedo, and, having in their several capacities as workmen and pedlars contrived to gain access to Kotsuke no Suke’s house, made themselves familiar with the plan of the building and the arrangement of the different rooms, and ascertained the character of the inmates, who were brave and loyal men, and who were cowards; upon all of which matters they sent regular reports to Kuranosuke. And when at last it became evident from the letters which arrived from Yedo that Kotsuke no Suke was thoroughly off his guard, Kuranosuke rejoiced that the day of vengeance was at hand; and, having appointed a trysting-place at Yedo, he fled secretly from Kioto, eluding the vigilance of his enemy’s spies. Then the forty-seven men, having laid all their plans, bided their time patiently.
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. Osaka Castle Retrieved from http://digitalcollections.nypl.org/items/510d47d9-c4cc-a3d9-e040-e00a18064a99
It was now midwinter, the twelfth month of the year, and the cold was bitter. One night, during a heavy fall of snow, when the whole world was hushed, and peaceful men were stretched in sleep upon the mats, the Ronins determined that no more favourable opportunity could occur for carrying out their purpose. So they took counsel together, and, having divided their band into two parties, assigned to each man his post. One band, led by Oishi Kuranosuke, was to attack the front gate, and the other, under his son Oishi Chikara, was to attack the postern of Kotsuke no Suke’s house; but as Chikara was only sixteen years of age, Yoshida Chiuzayemon was appointed to act as his guardian. Further it was arranged that a drum, beaten at the order of Kuranosuke, should be the signal for the simultaneous attack; and that if any one slew Kotsuke no Suke and cut off his head he should blow a shrill whistle, as a signal to his comrades, who would hurry to the spot, and, having identified the head, carry it off to the temple called Sengakuji, and lay it as an offering before the tomb of their dead lord. Then they must report their deed to the Government, and await the sentence of death which would surely be passed upon them. To this the Ronins one and all pledged themselves. Midnight was fixed upon as the hour, and the forty-seven comrades, having made all ready for the attack, partook of a last farewell feast together, for on the morrow they must die. Then Oishi Kuranosuke addressed the band, and said–
“To-night we shall attack our enemy in his palace; his retainers will certainly resist us, and we shall be obliged to kill them. But to slay old men and women and children is a pitiful thing; therefore, I pray you each one to take great heed lest you kill a single helpless person.” His comrades all applauded this speech, and so they remained, waiting for the hour of midnight to arrive.
When the appointed hour came, the Ronins set forth. The wind howled furiously, and the driving snow beat in their faces; but little cared they for wind or snow as they hurried on their road, eager for revenge. At last they reached Kotsuke no Suke’s house, and divided themselves into two bands; and Chikara, with twenty-three men, went round to the back gate. Then four men, by means of a ladder of ropes which they hung on to the roof of the porch, effected an entry into the courtyard; and, as they saw signs that all the inmates of the house were asleep, they went into the porter’s lodge where the guard slept, and, before the latter had time to recover from their astonishment, bound them. The terrified guard prayed hard for mercy, that their lives might be spared; and to this the Ronins agreed on condition that the keys of the gate should be given up; but the others tremblingly said that the keys were kept in the house of one of their officers, and that they had no means of obtaining them. Then the Ronins lost patience, and with a hammer dashed in pieces the big wooden bolt which secured the gate, and the doors flew open to the right and to the left. At the same time Chikara and his party broke in by the back gate.
Then Oishi Kuranosuke sent a messenger to the neighbouring houses, bearing the following message:–“We, the Ronins who were formerly in the service of Asano Takumi no Kami, are this night about to break into the palace of Kotsuke no Suke, to avenge our lord. As we are neither night robbers nor ruffians, no hurt will be done to the neighbouring houses. We pray you to set your minds at rest.” And as Kotsuke no Suke was hated by his neighbours for his covetousness, they did not unite their forces to assist him. Another precaution was yet taken. Lest any of the people inside should run out to call the relations of the family to the rescue, and these coming in force should interfere with the plans of the Ronins, Kuranosuke stationed ten of his men armed with bows on the roof of the four sides of the courtyard, with orders to shoot any retainers who might attempt to leave the place. Having thus laid all his plans and posted his men, Kuranosuke with his own hand beat the drum and gave the signal for attack.
Ten of Kotsuke no Suke’s retainers, hearing the noise, woke up; and, drawing their swords, rushed into the front room to defend their master. At this moment the Ronins, who had burst open the door of the front hall, entered the same room. Then arose a furious fight between the two parties, in the midst of which Chikara, leading his men through the garden, broke into the back of the house; and Kotsuke no Suke, in terror of his life, took refuge, with his wife and female servants, in a closet in the verandah; while the rest of his retainers, who slept in the barrack outside the house, made ready to go to the rescue. But the Ronins who had come in by the front door, and were fighting with the ten retainers, ended by overpowering and slaying the latter without losing one of their own number; after which, forcing their way bravely towards the back rooms, they were joined by Chikara and his men, and the two bands were united in one.
General Research Division, The New York Public Library. (191-?). Armour and Weapons of Ancient Warriors. Retrieved from http://digitalcollections.nypl.org/items/510d47d9-83bf-a3d9-e040-e00a18064a99
By this time the remainder of Kotsuke no Suke’s men had come in, and the fight became general; and Kuranosuke, sitting on a camp-stool, gave his orders and directed the Ronins. Soon the inmates of the house perceived that they were no match for their enemy, so they tried to send out intelligence of their plight to Uyesugi Sama, their lord’s father-in-law, begging him to come to the rescue with all the force at his command. But the messengers were shot down by the archers whom Kuranosuke had posted on the roof. So no help coming, they fought on in despair. Then Kuranosuke cried out with a loud voice: “Kotsuke no Suke alone is our enemy; let some one go inside and bring him forth. dead or alive!”
Now in front of Kotsuke no Suke’s private room stood three brave retainers with drawn swords. The first was Kobayashi Hehachi, the second was Waku Handaiyu, and the third was Shimidzu Ikkaku, all good men and true, and expert swordsmen. So stoutly did these men lay about them that for a while they kept the whole of the Ronins at bay, and at one moment even forced them back. When Oishi Kuranosuke saw this, he ground his teeth with rage, and shouted to his men: “What! did not every man of you swear to lay down his life in avenging his lord, and now are you driven back by three men? Cowards, not fit to be spoken to! to die fighting in a master’s cause should be the noblest ambition of a retainer!” Then turning to his own son Chikara, he said, “Here, boy! engage those men, and if they are too strong for you, die!”
Spurred by these words, Chikara seized a spear and gave battle to Waku Handaiyu, but could not hold his ground, and backing by degrees, was driven out into the garden, where he missed his footing and slipped into a pond, but as Handaiyu, thinking to kill him, looked down into the pond, Chikara cut his enemy in the leg and caused him to fall, and then, crawling out of the water dispatched him. In the meanwhile Kobayashi Hehachi and Shimidzu Ikkaku had been killed by the other Ronins, and of all Kotsuke no Suke’s retainers not one fighting man remained. Chikara, seeing this, went with his bloody sword in his hand into a back room to search for Kotsuke no Suke, but he only found the son of the latter, a young lord named Kira Sahioye, who, carrying a halberd, attacked him, but was soon wounded and fled. Thus the whole of Kotsuke no Suke’s men having been killed, there was an end of the fighting; but as yet there was no trace of Kotsuke no Suke to be found.
Then Kuranosuke divided his men into several parties and searched the whole house, but all in vain; women and children weeping were alone to be seen. At this the forty-seven men began to lose heart in regret, that after all their toil they had allowed their enemy to escape them, and there was a moment when in their despair they agreed to commit suicide together upon the spot; but they determined to make one more effort. So Kuranosuke went into Kotsuke no Suke’s sleeping-room, and touching the quilt with his hands, exclaimed, “I have just felt the bed-clothes and they are yet warm, and so methinks that our enemy is not far off. He must certainly be hidden somewhere in the house.” Greatly excited by this, the Ronins renewed their search. Now in the raised part of the room, near the place of honour, there was a picture hanging; taking down this picture, they saw that there was a large hole in the plastered wall, and on thrusting a spear in they could feel nothing beyond it. So one of the Ronins, called Yazama Jiutaro, got into the hole, and found that on the other side there was a little courtyard, in which there stood an outhouse for holding charcoal and firewood. Looking into the outhouse, he spied something white at the further end, at which he struck with his spear, when two armed men sprang out upon him and tried to cut him down, but he kept them back until one of his comrades came up and killed one of the two men and engaged the other, while Jiutaro entered the outhouse and felt about with his spear. Again seeing something white, he struck it with his lance, when a cry of pain betrayed that it was a man; so he rushed up, and the man in white clothes, who had been wounded in the thigh, drew a dirk and aimed a blow at him. But Jiutaro wrested the dirk from him, and clutching him by the collar, dragged him out of the outhouse. Then the other Ronin came up, and they examined the prisoner attentively, and saw that he was a noble-looking man, some sixty years of age, dressed in a white satin sleeping-robe, which was stained by the blood from the thigh-wound which, Jiutaro had inflicted. The two men felt convinced that this was no other than Kotsuke no Suke, and they asked him his name, but he gave no answer, so they gave the signal whistle, and all their comrades collected together at the call; then Oishi Kuranosuke, bringing a lantern, scanned the old man’s features, and it was indeed Kotsuke no Suke; and if further proof were wanting, he still bore a scar on his forehead where their master, Asano Takumi no Kami, had wounded him during the affray in the castle. There being no possibility of mistake, therefore, Oishi Kuranosuke went down on his knees, and addressing the old man very respectfully, said–
“My lord, we are the retainers of Asano Takumi no Kami. Last year your lordship and our master quarrelled in the palace, and our master was sentenced to _hara-kiri,_ and his family was ruined. We have come to-night to avenge him, as is the duty of faithful and loyal men. I pray your lordship to acknowledge the justice of our purpose. And now, my lord, we beseech you to perform _hara-kiri_. I myself shall have the honour to act as your second, and when, with all humility, I shall have received your lordship’s head, it is my intention to lay it as an offering upon the grave of Asano Takumi no Kami.”
Thus, in consideration of the high rank of Kotsuke no Suke, the Ronins treated him with the greatest courtesy, and over and over again entreated him to perform hara-kiri. But he crouched speechless and trembling. At last Kuranosuke, seeing that it was vain to urge him to die the death of a nobleman, forced him down, and cut off his head with the same dirk with which Asano Takumi no Kami had killed himself. Then the forty-seven comrades, elated at having accomplished their design, placed the head in a bucket, and prepared to depart; but before leaving the house they carefully extinguished all the lights and fires in the place, lest by any accident a fire should break out and the neighbours suffer.
As they were on their way to Takanawa, the suburb in which the temple called Sengakuji stands, the day broke; and the people flocked out to see the forty-seven men, who, with their clothes and arms all blood-stained, presented a terrible appearance; and every one praised them, wondering at their valour and faithfulness. But they expected every moment that Kotsuke no Suke’s father-in-law would attack them and carry off the head, and made ready to die bravely sword in hand. However, they reached Takanawa in safety, for Matsudaira Aki no Kami, one of the eighteen chief daimios of Japan, of whose house Asano Takumi no Kami had been a cadet, had been highly pleased when he heard of the last night’s work, and he had made ready to assist the Ronins in case they were attacked. So Kotsuke no Suke’s father-in-law dared not pursue them.
At about seven in the morning they came opposite to the palace of Matsudaira Mutsu no Kami, the Prince of Sendai, and the Prince, hearing of it, sent for one of his councillors and said: “The retainers of Takumi no Kami have slain their lord’s enemy, and are passing this way; I cannot sufficiently admire their devotion, so, as they must be tired and hungry after their night’s work, do you go and invite them to come in here, and set some gruel and a cup of wine before them.”
So the councilor went out and said to Oishi Kuranosuke: “Sir, I am a councillor of the Prince of Sendai, and my master bids me beg you, as you must be worn out after all you have undergone, to come in and partake of such poor refreshment as we can offer you. This is my message to you from my lord.”
“I thank you, sir,” replied Kuranosuke. “It is very good of his lordship to trouble himself to think of us. We shall accept his kindness gratefully.”
So the forty-seven Ronins went into the palace, and were feasted with gruel and wine, and all the retainers of the Prince of Sendai came and praised them.
Then Kuranosuke turned to the councillor and said, “Sir, we are truly indebted to you for this kind hospitality; but as we have still to hurry to Sengakuji, we must needs humbly take our leave.” And, after returning many thanks to their hosts, they left the palace of the Prince of Sendai and hastened to Sengakuji, where they were met by the abbot of the monastery, who went to the front gate to receive them, and led them to the tomb of Takumi no Kami.
And when they came to their lord’s grave, they took the head of Kotsuke no Suke, and having washed it clean in a well hard by, laid it as an offering before the tomb. When they had done this, they engaged the priests of the temple to come and read prayers while they burnt incense: first Oishi Kuranosuke burnt incense, and then his son Oishi Chikara, and after them the other forty-five men performed the same ceremony. Then Kuranosuke, having given all the money that he had by him to the abbot, said–
“When we forty-seven men shall have performed _hara-kiri_, I beg you to bury us decently. I rely upon your kindness. This is but a trifle that I have to offer; such as it is, let it be spent in masses for our souls!” And the abbot, marvelling at the faithful courage of the men, with tears in his eyes pledged himself to fulfil their wishes. So the forty-seven Ronins, with their minds at rest, waited patiently until they should receive the orders of the Government.
Art and Picture Collection, The New York Public Library. Fujiyama, Japan. Retrieved from http://digitalcollections.nypl.org/items/c260bdb3-9b60-4552-e040-e00a18066d81
At last they were summoned to the Supreme Court, where the governors of Yedo and the public censors had assembled; and the sentence passed upon them was as follows: “Whereas, neither respecting the dignity of the city nor fearing the Government, having leagued yourselves together to slay your enemy, you violently broke into the house of Kira Kotsuke no Suke by night and murdered him, the sentence of the Court is, that, for this audacious conduct, you perform hara-kiri.” When the sentence had been read, the forty-seven Ronins were divided into four parties, and handed over to the safe keeping of four different daimios; and sheriffs were sent to the palaces of those daimios in whose presence the Ronins were made to perform hara-kiri. But, as from the very beginning they had all made up their minds that to this end they must come, they met their death nobly; and their corpses were carried to Sengakuji, and buried in front of the tomb of their master, Asano Takumi no Kami. And when the fame of this became noised abroad, the people flocked to pray at the graves of these faithful men.
Among those who came to pray was a Satsuma man, who, prostrating himself before the grave of Oishi Kuranosuke, said: “When I saw you lying drunk by the roadside at Yamashina, in Kioto, I knew not that you were plotting to avenge your lord; and, thinking you to be a faithless man, I trampled on you and spat in your face as I passed. And now I have come to ask pardon and offer atonement for the insult of last year.” With those words he prostrated himself again before the grave, and, drawing a dirk from his girdle, stabbed himself in the belly and died. And the chief priest of the temple, taking pity upon him, buried him by the side of the Ronins; and his tomb still remains to be seen with those of the forty-seven comrades.
Freeman-Mitford, A.B. (1871) Tales of Old Japan. London,
The Forty-seven Ronin, A.B. Mitford’s Authoritative Account was last modified: December 18th, 2016 by Chris Kincaid
Photographs are everywhere. Every cell phone has a camera stuffed into it. Selfies and photos in general are so ubiquitous that they often lack impact. Even the most stunning photos make us shrug and click on to the next website. But if we stop and consider photos, they are a marvel. Photography captures a moment in time. The moment may be contrived, posed, or spur-of-the-moment, but it is still a glimpse at a time period. It is a glimpse at a person long gone.
The number of photos floating around the Internet combines with our ever-onward rush to consume information. How often do you stop to contemplate a picture for more than a few seconds? I am guilty of rushing onward too.
Japanese woman wearing Western clothing c. 1900
Why is this woman wearing Western style clothing? What was her name? What was her favorite food? She was a predecessor to the moga of the 1920s. Moga is short for modan garu, or modern girl. She was a hip, liberated woman for her time. Moga typically wore one-piece dresses that ended at the knee, high-heels, and sheer stockings. A hat made of soft fabric accented her short hair styled after popular American film stars (Sato, 1993). Our lady has the hat, but her dress looks Victorian. We can only speculate about how she viewed herself. Many of these photographs are for postcards meant to be sold in the West. But they are still glimpses of people and periods lost to time.
Moga on the beach. 1920. Notice their Western-style swimsuits. These ladies were fashionable for their time and they threatened traditional womanhood in Japan.
A pair of sumo going through ritual movements for a Western audience (These postcards targeted Western visitors). A hand tinted photograph from 1865.
We can’t forget the people not seen in these photographs: the photographers. The names of photographers are sometimes as mysterious as the people depicted. What made the photographer set up this shot? What relationship did the photographer share with the people in the picture? We can rarely answer these questions.
Japanese mother with her sleeping child. c. 1865 hand-tinted.
These people are gone. These frozen moments tantalize. The toy cat on the right side of the photograph and the thick blankets surrounding the child speak of the mother’s love. The ink paintings in the background are lovely. What do they tell us about the family?
A lovely hand-tinted photograph of a woman washing her hair taken by Felix Beato. c.1863.
We happen to know who took these hand-colored photographs. Felix Beato, an Englishman, used glass plate negatives coated with egg whites. This technique allowed photographers to capture detail but at the cost of long exposures. It took 4 hours to make a photo. However, Beato figured out a way to reduce the exposure time to 4 seconds. He took photographs in Egypt, China, and many other locations. He lived in Yokohama (Nobuo, 1972).
A samurai in full armor, a relic of the past even when this photograph was taken.
We rush about both online and offline by our societies. We bounce to and fro, forgetting how to look deeply. Look at these photographs for several minutes. Look into the eyes of these people. Perhaps someday someone will look at photographs of you with the same questions you have. Who is this? What was their favorite food? Favorite color? What were they thinking? Why was the photograph taken?
Or perhaps they will only spend a few seconds glancing into your eyes before moving on without thinking of these questions.
We live in an exciting time. A few clicks pulls up hundreds of frozen memories, but appreciation for this remains low. It’s human nature to grow accustomed to the everyday. It takes effort to cultivate thankfulness and mindfulness. These photos of people long gone reach across time if we stop and listen. I find this exciting and humbling. Even contrived postcards offer a glimpse of a different era and way of thinking. Japan was opening to the world after a long period of isolation under the Tokugawa. These photos suggest anxiety and excitement, a curiosity for the new, and a desire to reach out to the West. For the Japanese at the time, the West was just as alien as Japan was to the West.
Edo period women
A Buddhist monk. c. 1870
A geisha poses for a postcard. Hard-tinted.
A Japanese mother with her child.
Nobuo, I. (1972). BEATO IN JAPAN. Image, 15(3), 10-11.
Sato, B. (1993). The Moga Sensation: Perceptions of the Modan Garu in Japanese Intellectual Circles During the 1920s. Gender & History, 5 (3). 363-381.
1800s Japanese Photography: Windows to the Past was last modified: November 20th, 2016 by Chris Kincaid