47 pages • 1 hour read
Dorothy Hoobler, Thomas HooblerA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide describes and discusses the source text’s depiction of ritual death by suicide, called seppuku, which was significant to Japanese samurai culture from the 12th century until its prohibition in 1873.
It is 1735, the age of samurai—the hereditary warriors whose behavior is ruled by loyalty, courage, and honor. In 1603, the emperor appointed a samurai, Ieyasu Tokugawa, to be the military governor, or shogun, and his descendants have retained the title ever since. The shogun lives in Edo while the emperor resides in Kyoto, and the Tokaido Road—a busy highway for people from all walks of life—stretches between.
Seikei rides in a kago, a passenger box carried by two men, though he’d rather walk because riding embarrasses him, and he’d like to see the countryside. Seikei’s father, a tea merchant, will not allow this; he and Seikei travel together so Seikei can learn about the family business. However, Seikei prefers poetry to math. Though he has won awards for his writing, this talent is beneficial only to samurai, and Seikei is not from a samurai family. When he sees a girl rubbing her feet on the side of the road, he is embarrassed to look like a lazy merchant.
Seikei and his father reach a checkpoint. He spots a group of samurai and their daimyo, or lord, noting the man’s “harsh eyes” and cruel scowl. A beggar holds out his bowl to the daimyo, who nearly crushes the man beneath his horse. The beggar flips nimbly backward, eyeing the lord with hatred. Seikei notes the beggar’s face, marked with a long scar on his right cheek. Seikei’s father comments on the variety of people on the road, including Kirishitans, who practice an outlawed and mysterious religion. He claims he and Seikei are fortunate to travel in cargo, but Seikei wishes they were samurai instead of merchants.
Seikei and his father arrive in Kameyama and approach the inn where they intend to sleep. They learn that the inn is hosting the daimyo they saw on the road, Lord Hakuseki. The innkeeper shows them to a room, and they bathe and eat. Later, the innkeeper returns, asking Seikei’s father to assist him because Hakuseki desires some fine tea. Seikei’s father demurs, knowing the daimyo might expect the tea for free. They approach Hakuseki on their knees, and he threatens to cut out Seikei’s father’s tongue when the merchant explains the teas. Hakuseki asks Seikei how much he should pay for the tea he chooses, and Seikei says he should pay what he thinks is fair. The daimyo likes this answer and sends Seikei’s father away.
A girl arrives, carrying a box, and Seikei recognizes her from the road. She is beautiful and graceful, the daughter of a paper maker. Hakuseki desires paper fine enough on which to write a message to the shogun, and the girl offers him a selection. When he writes on a sheet, Seikei sees that his writing is crude and clumsy, a reflection of the man’s character. Hakuseki shows the girl a large and brilliant ruby that he plans to give to the shogun. He purchases her paper and then drinks his tea. Hakuseki pays Seikei, dismissing him.
Seikei isn’t tired, so he goes to sit on the inn’s terrace. He realizes he was afraid to be in the daimyo’s presence. Suddenly, the girl arrives on the terrace, and they talk. Seikei reveals his longing to be a samurai and to devote himself to poetry, but the girl, Michiko, says one doesn’t have to be a samurai to write poems. She points out that Hakuseki is a samurai even though he writes terribly and lacks the samurai sense of honor.
Michiko tells Seikei a ghost story in which a corrupt monk becomes a horrible creature called a jikininki, who eats the flesh of dead men. Only a holy man can release the man’s spirit from its monstrous prison. When Michiko returns to her room, Seikei feels somewhat fearful of what could be lurking beyond the terrace in the night.
Seikei returns to his room and hears Hakuseki beating a servant for failing to bring his wine quickly enough. He reminds himself of a samurai’s essential qualities, “loyalty, right conduct, and bravery” (31), noting that the daimyo does not set a good example for others.
Seikei lies awake, hearing the clock strike 11, initiating the Hour of the Rat. He sees a horrible shadow open the door to their room. Believing it to be a jikininki, he tells the monster he is not dead, taking in its big horns, white face, and a red object in its hand. The monster retreats, and Seikei hears it open another door down the hall.
Although he is scared, Seikei knows he must be brave and alert the other sleepers. In the hallway, the sight of the creature robs him of his voice, so he stomps his foot at it. At this noise, the creature seems to shrink from sight, dissolving into the floor. Confused, but relieved, Seikei returns to bed.
Early the next morning, the innkeeper knocks on the door. Hakuseki reported something stolen from his room, and a judge arrives to investigate the theft. Judge Ooka questions the guests, and none confess, so he orders his men to search the rooms. He implores anyone who witnessed something strange in the night to speak. One of the judge’s men returns with a box of paper from Michiko’s room, and the ruby is inside.
Themes regarding The Importance of Honor and Personal Ambition Versus Societal Expectations come to the text’s fore almost immediately in the opening chapters. For 130 years, the shogun title has been passed from father to son within the same family regardless of members’ personal ambitions or preferences. Similarly, despite Seikei’s writing talent and bravery, “He could never be a samurai. The only way was to be a member of a samurai family” (4). He knows that he, his children, and subsequent generations will be merchants, “rich or poor, all their lives” (4) because this is how occupation and rank are decided in Seikei’s society (See: Background).
According to the norms of Japanese culture in the Edo period, Seikei can honor his family by following in his father’s footsteps, learning about the tea business, and accepting his place. He struggles with the dream of devoting himself to poetry and embodying the samurai code of conduct because society expects sons to fulfill the same roles as their fathers, regardless of their talents or personal wishes. While Seikei, a merchant’s son, is barred from attaining the rank of samurai despite his bravery and honor, Hakuseki, a powerful daimyo, enjoys this rank despite his lack of honor simply because his father was a daimyo. He is ruthlessly cruel to the beggar on the Tokaido Road, dismissive of Seikei’s father’s expertise, beats a servant for being too slow in bringing him wine, and writes crude verse in a crabbed hand.
Evidently, it is so common for daimyo to fall short of society’s expectations for their character that Seikei’s father tells him, “Daimyo make very poor customers. They expect to buy everything at the lowest prices—that is, unless they force you into making a gift of your wares” (12). This unwillingness to deal fairly with merchants is hardly exemplary of the “right conduct” samurai are supposed to model. Seikei’s father believes that meeting Lord Hakuseki will help to diminish Seikei’s dreams of being a samurai, saying, “It will do [Seikei] good to see what a daimyo is really like” (13). Seikei’s father implies that he has met many daimyo and has had very few—if any—positive experiences, so he is certain that Seikei will be disillusioned by just one meeting. Thus, mid-18th century Japan is not a meritocracy, where individuals earn status due to their talents and behavior; instead, rank is inherited, sometimes by the undeserving, which also results in society’s failure to recognize or reward the value of people like Seikei.
The authors develop a foreboding mood using figurative language, storytelling, and descriptions of Seikei’s feelings, which are revealed by the third-person narrator. The most common figure of speech in the text is the simile. The authors employ this type of comparison to describe the ruby Hakuseki intends to give the shogun. It is “a brilliant red stone, as dark as blood” (18). Rather than compare the stone’s color to fire, wine, or something similarly positive in connotation, the comparison to blood is ominous. This comparison links the ruby to violence, suggesting that it might spill the blood to which it is so similar in hue. The simile also suggests that violence will result from this stone’s appearance in the story.
Likewise, Michiko’s ghost story about a dead monk who becomes a jikininki affects Seikei deeply, especially after his frightening experience with the daimyo. When he is once again alone, “He had the odd feeling that something might be hiding in the darkness beyond the terrace” (29). His suspicion that something is hiding and awaiting an opportunity to approach is confirmed by the appearance of the horned shadow at the inn. When it leaves his room, Seikei must “remind himself […] not to think of danger. Death [has] no meaning to the samurai,” though “fear silence[s] his voice” when he tries to address the monster (33).
The narrator’s descriptions of Seikei’s samurai heart—evident in his desire to suppress his fear and protect others from harm—add to the story’s portentous mood. Since the monster appears during the Hour of the Rat, it also signals the beginning of a new chapter in the boy’s life. The Rat is the first sign in the Chinese zodiac, and, as such, it is often associated with new beginnings. Thus, Seikei’s experiences at the inn suggest both danger and possibility.
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