Antihero/Hero

any pursuit while being aware of whether it is morally correct and just or not. Musashi Miyamoto’s 16th century manuscript The Book of Five Rings demonstrates the author’s ability to depict violent situations in an anti-heroic manner, showcasing his understanding of the cost of life and death in a time where to be considered elite, one must fight to the death to show dominance. Miyamoto uses  a first person narrative approach to writing his work, and instructs the reader on how to achieve the highest strategic martial understanding of war, and peace that a samurai can attain during their tenure living as a noble soldier in feudal Japan. This Musashi's book helps strengthen the texts predessor "The Hagakure" by Tsunetomo Yamamoto The Code of the Samurai  by showcasing a valid comparison between whats considered noble and virtuous combat, versus what Musashi was willing to do in order to win. Which was not considered righteous according to The Haguke , but Musashi is still revered as a hero according to many Japanese people despite his ignoble actions.  However, this narrative can be universally applied to human life during any time frame associated to human existence, and still remains a valid manual whether one choses to be a carpenter, an artist, or warrior.  

            Many literary works on this subject during the 16th century Japan were quite literal and drab. Perhaps, Miyamoto Musashi’s narrative gives a tone of sarcasm, and irony in this work of literature. This is significant during a time-period in Japan which was not a time to jest. During the Sengoku period, Japan was engulfed in war and the land was torn apart by political upheaval. So for our author to write a work with humorous overtones during this time is perhaps a deeper insight into how Musashi felt about life in Japan during these tumultuous times. In the introduction, Musashi pokes fun at himself by establishing that he may have been lucky, or through divine providence he did not lose a battle in sixty duels. Musashi claims,

“When I reached thirty I looked back on my past. The previous victories were not due to my having mastered strategy. Perhaps it was natural ability, or the order of heaven, or that other schools' strategy was inferior. After that I studied morning and evening searching for the principle, and came to realize the Way of strategy when I was fifty. Since then I have lived without following any particular Way. Thus with the virtue of strategy I practice many arts and abilities all things with no teacher. To write this book, I did not use the law of Buddha or the teachings of Confucius, neither old war chronicles nor books on martial tactics. I take up my brush to explain the true spirit of this Ichi school as it is mirrored in the Way of heaven and Kwannon. The time is the night of the tenth day of the tenth month, at the hour of the tiger (3−5 a.m.)” (Miyamoto 3).

            This is a subtle example of how Musashi is using irony, when he realizes that in spite of killing all of those combatants, he still had yet to learn The Way of strategy despite having received acclaim for winning so many duels. This is a glaring example of the anti-hero theme. Then once he understands this, Musashi begins to follow no particular custom or methodology. In doing so, Musashi finds his martial theory not by the work of others, but by his own experiences as he finds balance between wartime, and peacetime. This passage also gives rise to the connection of the dualistic nature of the emboldened warrior, and the torn scholar which anti-heroes tend to exude. Musashi further explains this analogy later on in the book by stating, “It is said the warrior's is the twofold Way of the pen and sword, and he should have a taste for both Ways. Even if a man has no natural ability he can be a warrior by sticking assiduously to both divisions of the Way. Generally speaking, the Way of the warrior is resolute acceptance of death” (3). Musashi’s book goes on to give a strategy for overcoming one's foes in a martial duel. Musashi makes various analogies between the warrior and the carpenter that are synonymous with true craftsmanship.

            Musashi’s book is a tremendous illustration on how one can mirror a warrior’s trade with that of an ordinary person. A samurai is bound by a warrior’s code that will dictate how good or bad a person is based on their desires. The samurai code itself could be considered an anti-heroes’ manifesto. In this narrative, Musashi gives a direct guideline on how to become the very best at whatever profession a person aspires to achieve while remaining honorable in the pursuit. Despite Musashi’s primary focus on addressing the samurai warrior, the themes presented in this text are universal to the applications of both good and bad in any endeavor, relative to both the hero, and anti-hero.