I came across Rashomon and Other Stories by Ryunosuke Akutagawa by pure chance. It is my first taste of classic Japanese literature.
I was looking for historical books on Egypt, and there happened to be reference to Rashomon. The title is in fact, what has been surmised as, the best selected tales by Akutagawa, who committed suicide at the age of 35, in 1927.
Akira Kurosawa was influenced by Akutagawa’s short stories to create filmic adaptations. The most famous of of these is of course Rashomon which was widely and critically acclaimed as one his greatest works. Akutagawa had written over 100 short tales during his time as a writer, and this was the way he, as writers often do, dealt with his own unhappiness as well as indulging in a passion.
The book contains six of Akutagawa’s tales, and opens with a brilliant introduction by Howard Hibbet who poignantly and deftly epitomises the influence and beauty of Akutagawa’s writing. It provides a glimpse into the mind of a writer, who was living during a time of great change in his country both in terms of politics, religion and of course the global change from the first World War.
The first story, In a Grove, is written in a matter not often seen, but has been emulated since. I cannot vouch for the originality of the style used by Akutagawa, but to the best of my knowledge the best example has been provided here.
In a Grove is a tale about a murder that was committed. But when is a murder not a murder? When is the truth a lie? These are questions poised by Akutagawa of what drives a person to testify to something that did not happen, or did happen but they were not responsible for.
The tale is told by testimony by several witnesses of an incident that took place between a thief and a married couple. The story is not as simple as it first seems, in so far as what seems a straight forward case up until the thief’s testimony, becomes a tale of complication.
The tale also presents the thief trying to explain (not justify) his actions due to the circumstance he faces. At the same time, he parallels his behaviour with that of the society and world he lives in. The suffering he causes is done by bloodshed, the suffering caused by those in power is done through fear and punishment, if not through physical bloodshed.
It’s an interesting parallel, and one that could still apply today. Corruption and greed still reigns, sadly, supreme, and the advocacy of democracy within our civilized states does not automatically entertain justice and impartiality as anyone who knows anything about politics can understand. It’s an interesting tale with an unexpected ending.
Akutagawa had written over 100 short tales during his time as a writer, and this was the way he, as writers often do, dealt with his own unhappiness
Rashomon (the second tale) was in some ways a surprise, and in other ways not so. The tale is perhaps one of the shortest of the selected six. For those wondering how it compares to Kurosawa’s film, you’ll be perhaps a little surprised.
Rashomon itself refers to a historical gate in Japan, which was once used often in Kyoto, but then due to decline was abandoned. It was then the home of the dead, robbers and murderers. The film Rashomon takes the name, and is in fact based on the tale In a Grove, rather than the tale Rashomon. It takes away the ending of the short story, but adds Kurosawa’s take.
The story of Rashomon is that of a servant who has been released from his duties by his master. The times are hard for all of Japan, and due to financial constraints, the servant could no longer be kept at his post. This poses a relative quandary for the servant, as he has no where to go, and no way to live unless he makes a choice: live an honest life, or become a thief.
The question is a life changing one for the servant, for whichever direction he takes will determine his character and his life. As he approaches Rashomon, he is aware that anyone may be in area, and at any time his life could end. He notices a light at the top of the stairs, and a shadowy figure. The servant goes to investigate and makes a discovery that determines his decision on which path he will take.
Rashomon is told with beautiful prose, the emotion and questioning of the servant, to the movement and fear accentuated by the despair that Rashomon represents is imaginatively told to the reader. You are drawn into the life of the servant and feel every moment of emotion, from fear, to elation to anger to malice. Akutagawa had a gift for truly defining human emotion within his stories.
With Yam Gruel, Akutagawa demonstrates the tact and seriousness of dealing with issues taken for granted. Goi is frail and old, unwanted and mistreated by everyone including his master. His subordinates ignore his words and carry on with whatever they were doing.
Goi is even bullied by disobedient children in the street, when he attempts to interfere in stopping a stray being beaten. Goi is not confrontational, nor is he argumentative. He is timid in his approach to life, asking for nothing, and only carrying out what is asked for him day in and day out.
the suffering he causes is done by bloodshed, the suffering caused by those in power is done through fear and punishment
In fact, so little interest is there in Goi that hand signals are considered sufficient and worthy enough for Goi. Should he fail to understand he is punished or simply ignored. Goi is never phased by this, although he does not love his job, he is grateful for having it, and therefore never complains.
Every year a ceremony is held by the master of the house. As tradition permits, the subordinates are allowed to join the master for a meal and drinks. It is perhaps the only time that Goi looks forward to.
It’s the only time he gets the chance to eat yam gruel. The smell, the taste, and the entire experience enthralls him. With not much to look forward to, this is the most he can hope for. This year however, there are more workers, and this the portion of yam gruel received is less than last year.
Goi is troubled, and mutters that he hasn’t had his fill of yam gruel. Over hearing this is the son of the master of the house. Everyone else also over hears and mock Goi’s comment. The master’s son asks Goi if he would like some more yam gruel, and Goi is aware that he would be the butt of jokes regardless of his answer. He kindly accepts the son’s offer, but the son just laughs and the night continues.
Goi, unfortunately, cannot remove the thought of yam gruel from his mind. Nor can he forget the son’s offer of more yam gruel. Goi goes to sleep, thinking of yam gruel, and wakes up wanting the same. He has been tempted, and teased and he wishes for more.
Much to Goi’s surprise, the son keeps his promise, and offers Goi a horse to take a journey, at the end of which he would receive his yam gruel. It is several days of travel, when the son finally reveals where they are headed for a long journey, and Goi suddenly loses the interest in traveling. Still, appreciative and idolising, Goi accepts the situation as it is and continues to travel with the son.
Akutagawa demonstrates the tact and seriousness of dealing with issues taken for granted
Upon reaching their destination (the home of the son’s family, including his father-in-law and wife), the son looks after Goi as he would any guest, providing clothing, water and so on. Goi is still appreciative, but upon riding to the destination, the son had a malicious grin about him.
Goi’s appetite for yam has departed, as it has been on his mind since the night of the ceremony. He has watched the yams collate and the cauldrons set. As the yam gruel is made, the scent is enough for Goi, and he no longer wishes to eat. Goi’s sickness of yam is cured, and the thought of eating yam would be too much. However, obligated by his journey for yams, he amuses the son and his father-in-law by forcing himself to the eat the gruel.
Yam Gruel provides a rather obvious moral tale, looking at greed as well as the influence on subordinates by their masters, ensuring obedience and reminding them of their place. Goi’s desire to have yam gruel turns from luxury to burden, to repulsion, perhaps indicative of the methods used to apply control.
On the other hand the simpler message is that of having “too much of a good thing” Goi once had something to look forward to, but after the experience would be lacking that one thing. The development of Goi is cautious and careful, ensuring a gradual rather than rapid change. We see his confidence grow over the days, with the respect and courtesy offered by the master’s son, and then suddenly it all comes tumbling down.
The remaining three stories are:
The Martyr – A Christian tale of misunderstanding, deceit, betrayal, lies and death which inevitably leads to the reaffirming of faith amongst those that have sinned. It’s rather “Hail Christianity” in flavour, and has Akutagawa’s moderate slant on it, which he admits he did so carefully so as to preserve the original story.
I found The Martyr to be the weakest, but one of the better written tales. It was weak in so far as it was rather idealistic in its words. On the other hand, I did appreciate that it did stick to its guns, even if it did provide a singularly one sided view of the Christian faith and all it has to offer.
Rather conveniently, the person who they banish turns out to be an honest person, and can now be called a Christian martyr, and has their sins forgiven. Forget about the mob justice brought upon the individual because hey, in religion, if shit happens, it’s because God wanted it to happen that way. Religion – convenience for the masses.
The story itself was written well enough, I just found the message to be prejudicial. I guess it’s difficult to make any objective comment on religious writings, but that is my opinion of it.
Kesa and Morito – Morito has promised to kill a man whom he does not hate, for the wife he has dishonoured and does not love, and the feeling is mutual from Kesa (the wife of the man to die). It’s a brilliant piece about making rash promises, about honour, and all is not as it seems.
I did appreciate that it did stick to its guns, even if it did provide a singularly one sided view of the Christian faith
Very enjoyable and very well written. Two sides are presented. In the first part Morito struggles with his conscience on why he made such a rash decision to say he would kill her husband. He also feels hatred towards her, having dishonoured her, for not being as beautiful as he had assumed, for being uglier in the light than he had expected.
It was almost as if you could hand a brown paper bag to the guy out of pity. It is his stupidity, poor judgment and reasoning for wanting to hate her that baffles. A case of his high expectations met with the disappointment of her, resulting in the shame and disgust being directed at her than himself. A pathetic man, but at the same time emphatically weak as he fears her.
The second part of the tale deals with Kesa’s awareness of his disgust, even though he’s not aware that she knows (after all he is a man, and thus thinks he knows everything), the options left to her should Morito not carry out his promise.
The shame and disgust she feels in herself for shaming her husband and for dishonouring herself in a moment of lust for a man, a would be killer, that she does not even love. The torment that both feel, in their act of stupidity is brilliantly portrayed with imagination and emotion.
The Dragon – The final, and sixth, story of the collection is about a priest who stages a hoax about a dragon that lives in pond, but his hoax turns out to be true. The question for the reader is, did it actually happen, or was this a case of a hoax gone badly wrong, turning into a mass hysteria and the power of suggestion and belief in wanting the dragon to appear. It’s very interesting, and perhaps unintentionally psychological study of what a group can convince themselves to believe.
The story is presented almost as a child’s story, in stark contrast to the vehement angst and hatred presented in Kesa and Morito. We have a Buddhist monk who tells a lie and sets up a hoax (perhaps showing Akutagawa’s belief that even the priests are fallible) which gets blown all out of proportion when the rumours spread to the other provinces. The character himself is a little Mr Bean, to use a modern example.
Although not haphazard, his appearance his made a mockery of. Much like Goi in Yam Gruel, he is ridiculed by others of his kin and group, as well as the towns people. The hoax is to exact revenge on those that have mocked him, and thus he would have rapture for the misery it has caused him by fooling others.
It’s a tribute to Akutagawa’s writing that it can stand the test of time after 80 years
It’s easy to read and sets off your imagination, taking you to a child like level of imaginary grandeur of magic and dragons and so on. It’s delicately presented, with no over abundance of depth, it’s short, sharp and gets to the point like all good children’s stories. The sort of story that you would tell a child at night before they go to bed, “And they all believed there was a dragon in the pond…”.
What I have learnt from reading this compilation is Akutagawa’s writing style was never set in stone. He could be infant like, presenting his imagination of innocence with all that is make-belief; he could write with a passion and fire that become serious and hot tempered; with delicacy, touching on the most concerning issues for his nation, for his people and for himself; and opening his mind to other worlds and stories of hope and resolve. It’s a sign of a talented author that can show flexibility and a desire to explore different writing styles and approaches.
As a compilation, it is by far one of the better ones I have read, compared to modern day writers such as David Hayles, where Akutagawa has thrown away any pretense of self-indulgence, profanity or cheap thrills and instead provided tales that include subtleties and attributes that today’s authors, lovers of the MTV generation can only hope to achieve. It’s a tribute to Akutagawa’s writing that it can stand the test of time after 80 years, and no doubt beyond, as I would rather read a short story by Akutaguawa than those by today’s so-called authors.
Verdict: A fine compilation of wonderful stories, written with real beauty.