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y r e v n e e b e v a h o h w r e t s i s y m d n a s t n e r a p y m o t s k n a h t o t t n a w I
y a p e r r e v e n d l u o c I , y a d o t m a I y a w e h t e k a m o t y a w e h t n i g n i p l e
h them.
m e h t k n a h
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M also goe s to Dew i Widyastuit , t
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t Maira Ananta Tr iSuryandair, SS. ,.M.Ed .my co-advisor . s
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u o y g n i h t y r e v e r o f u o y k n a h t , y a d o t m a I d l o w o h e m d n i m e r o t p o t s r e v e n
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A EPTANCEPAGE i ii
N O I T A C I L B U P S I S E H T F O E G A P T N E M E C N U O N O R P L A V O R P P A
C I M E D A C A R O F
N R E C N O
C ………... vi S
T N E M E G D E L W O N K C
A ……… v ….
S T N E T N O C F O E L B A
T ……….. vi
T C A R T S B
A ……….. iv i K
A R T S B
A ………. v iii
:I R E T P A H C
N O I T C U D O R T N
I ………. 1
.
A Backgroundoft heStudy………. 1 .
B ProblemFormulaiton……….. 6 .
C Objecitve soft heStudy……… 6 .
D Deifniitono fTerms………. 7
W E I V E R L A C I T E R O E H T :I I R E T P A H
C ………. 9
.
A Reviewo fRelatedStudies……….. 9 .
B Reviewo fRelatedTheoires……… 1 1 .
1 Theoryo fCharacter……….. 21 .
2 Theoryo fDer irda’ sDeconsrtuciton………. 31 .
3 Theoryo fRepresentaiton……….. 61 .
C Theoreitca lFramework……… 71
Y G O L O D O H T E M :I I I R E T P A H
C ……… 1 8
.
A Objec toft heStudy………. 1 8 .
B Approachoft heStudy……… 2 0 .
C Methodoft heStudy……… 22
S I S Y L A N A : V I R E T P A H
C ………..…….. 2 4 .
A TheMainCharacte rPresentedi nt heNovel………..….… 2 4 .
B TheCanonShowni nMusashi………..….. 3 6 .
C TheDeconsrtucitono fMusashi……….. 3 9
N O C : V R E T P A H
C CLUSION……… 55
Y H P A R G O I L B I
ii
ii
1
I R E T P A H C
N O I T C U D O R T N I
.
A Backgroundoft heStudy
l e v o n e h
T Musashi wa sperhap sthe mos tfamou snove ltha tthe Japan 2
9 8 1 ( a w a k i h s o Y i ji E y b n e tt ir W . d e t a e r c r e v e s a h e r u t a r e ti
l -1962) ,Musashi wa s
a s a n w o n
k ronin who ilve in the Tokugawa Iyeasu ae ,r i twa shi srevoluiton e s e n a p a J s d r a w o t n o it a z i n r e d o m s i h d n a s e d o c c i h t e i a r u m a s e s e n a p a J s d r a w o t
g n o m a s tr a l a it r a
m the feudal society wa sconsidered to be the mos tin lfuenita l r
e t c a r a h c s i h t m o r f t c e p s
a .Apersonwho ilvesi nerawhichconrtast swtiht heway s e t a e r c n a c o h w s e ir a n o it u l o v e r r o r e e n o i p a s a d e r e d i s n o c s i s k n i h t d n a s t c a e h
h t f o y a w w e
n inkingandatttiudes .Thenove lMusashi tiseflo tfenbeingcompared r
e ll e s t s e b r e h t o e h t h ti
w Shogun, tbu Musashii sdfiferenti nt heway tif ocusest he e
fi
l o fcommonpeoplei nf euda lJapan ,whlieShogunmosltyt ell saboutt heuppe r s
a w f l e s ti i h s a s u M . s e u g ir t n i l a c it il o p s s a l
c considered sa a rtue characte ro r r e d i s n o c e l p o e p e s e n a p a J . n o it a r o t s e R i ji e M f o d n e e h t r a e n s e v il o h w n o s r e p
i h s a s u
M no ta s a ifciton characte rbu tinstead o fa rea lcharacte r ilve in Feuda l s
a d e r e d i s n o c d n a n a p a
J al oca lhero, j ust t he way Indonesian rteated S iPtiung . i
h s a s u
M himsel fwroteabook“Go irnNoSho”o rTheFiveRingbookwhicht ell s t
u o b
a swordplay ,bu twestern people conside ri ta sa handbook to understand .s
e i g e t a rt s s s e n i s u b f o s a d n a g n i k n i h t f o y a w e s e n a p a
J The characte rMusashi
2
m o r f e n o s a w s p a h r e
p few ,asamura iwho sw a also known a san aritst .Musashi s
i h r o f n w o n k l l e w s a
w calilgraphy-making and hi sinteres tin the making o f .
p u c a e t l a n o it i d a rt e s e n a p a
J Musashiwa salsoknown f o rhi spain itng sand othe r n w o n k l l e w h c i h w ) m e o p e s e n a p a J ( u k i a H g n i k a m n i s a h c u s t c e j b o t r
a fo r
t s it r a e s e n a p a
J s andnotf ors amurais ucha sMusashi. i
h s a s u
M tisel fwa sa story o fayoung man named Takezo .Takezo wa sa d
l e if e lt t a b a r a h a g i k e S e h t n o e d i s g n i s o l e h t n o r e i d l o
s .Expecitng t o return a sa
o r e
h ,Takezo found t ha thewast he mos twanted f ugiitveat t ha t itme .Takuan ,a a
T d e t s e r r a , e l p m e t l a c o l e h t m o r f k n o
m kezo ,and madehim hi sstudent .Takezo s
k o o b f o s d n i k l l a f o g n i y d u t s s r a e y 3 r o f t n e
w abou tZen and Sun Tzu which fl
e s n w o s i h o t m i h t h g u o r
b consciousness. Takezo changed hi s name into i
h s a s u
M , which wast heChineselette rversion f ort hesamename ;Takezo .Then i
h s a s u
M statredhisl ongj ourneyt obet henumbe rones wordf ence ro fallJ apan . Y
i ji
E oshikawa desc irbed many histo irca levent son the nove l which a
w a k i h s o Y . y ti l a e r e h t h ti w e s i c e r p s i y lt s o
m desc irbed t ha tatfert hewar ,povetry s
i everywhere ,homeles sand cirminal saret hemain problem t hegovernmen thad e
t o r w a w a k i h s o Y . h ti w l a e d o
t tha tatfe rthe war ,a counltes snumbe rof ronin e
t s a m
( lres ssamurai )were so many tha tsome o fthe ronin were considered a .
l a n i m ir
c Musash iwere some o fthese ronin , rtaveilng on the counrtyside ,poo r e
s e h T . e v r e s o t r e t s a m o n d a h d n
a ronin were expecitng to make a name fo r l li w y ll a u t n e v e h c i h w , r e t s a m d r o w s s u o m a f r e h t o n a g n it a e f e d y b s e v l e s m e h t
t c a rt t
a Daimyo’sl/andlord’ satteniton t omaket heroninoneo fhis/he rvass a.l The e
v e l a c ir o t s i
3
h ti w d e t c e n n o c s t n e v
e Musash iweredoubted eve rhappened .Fo rexamplei st he n
a p a J n i i a r u m a s s u o m a f a ( ir o n e n u M u y g a Y d e m a n r e t c a r a h
c )whomYoshikawa
h ti w l e u d a e v a h o t d e b ir c s e
d Musashijus tbycompa irngwhosecu ton t hepeony s a w s r e t c a r a h c o w t e h t n e e w t e b g n it e e m e h t r o l e u d s i h T . t s e n if e h t s i h c n a r b
e h t s tr o p p u s e c n e d i v e l a c ir o t s i h o n r a f o s t a h t g n ir e d i s n o c d e n e p p a h r e v e d e t b u o d
. a e d i
m o h w o t n a m o w a s i u s t O . u s t O s i r e t c a r a h c e v it a n i g a m i r e h t o n
A Musashi
e v o l n i l l e
f .Yoshikawa create thi scharacte ra sa patrne ro fMusashi ,no tin i
d a e t s n i y a l p d r o w
s n l ove.I n t hebookGo irn No Sho ,Musashihardlyeve rspoke e
v o l s i h f
o d ones ,suppo tred byt heevidencet ha tMusashiremain sabachelo ral l .
e fi l s i h f
o
n o s a e r l a r e v e s e r a e r e h
T sfo rmaking Musashi a sthe objec to fanalysis . l
e v o n e h
T Musash i i s dfiferen t wtih the othe r samura i novels (Across the )i
a r u m a S , n u g o h S , r o o lf e l a g n it h g i
n . Musashi wa s dfiferen t in the way the s
e l g g u rt s r e t c a r a h
c toachievehisr eputaitonby ilvingi nt hel owclas ssociety ,and n
o it i s o p r e p o r p y n a s e s u f e r e h t a h
t in netihert he societyno raprope rway ofl fie , e
h t f o t s o m t a h t n w o n k s a w t i e li h
w ronin a tthe itme aimed fo ra prope r M
. n o it a t u p e
r os to fanothe rsamura inovelt ell sabou taclassicJapanesei ntirgue . t
r a l u p o p o s s a w l e v o n e h
T hatt hewesternconsideri ta s“Gonewtiht heWind”i n r
a li m i s a k o o t t i f o h t o b t a h t g n ir e d i s n o c , n o i s r e v e s e n a p a
J event s a s the
k c a
b ground (Musashi happen s du irng the batlte to reach the throne atfe r e
li h w d e i d i h s o y e d i
H ‘Gone wtih the wind’ happen sdu irng the Ameircan civi l .)
r a w
4
5
6
s a s u o m a f o h w e l p o e p e s e n a p a
J ahard worke rand ambiitou smadeJapan gain ti s . e m it f e ir b a n i d lr o w e h t n i y rt n u o c g n o rt s a f o e n o s a n o it i s o p s u o i g it s e r
p Japan
d e ti n U h ti w n e v e l a u q e d n a t s n a c t a h t e c r o f c i m o n o c e n a s a s r a e p p a s y a d a w o n
. s e t a t S
y r o e h t n o it c u rt s n o c e D a d ir r e D e s u o t y rt l li w r e ti r w e h t ,l e v o n s i h t m o r F
e h t g n it c u rt s n o c e d y B . y r o t s e h t d n a r e t c a r a h c e h t t c u rt s n o c e d o t r e d r o n i
. l e v o n e h t e e s o t w e i v f o t n i o p w e n a e t a e r c l li w t i t a h t s e p o h r e ti r w e h t ,r e t c a r a h c
t a h t s l e e f r e ti r w e h
T the nove lMusash ioffer sanothe rstory dfiferent t han wha t a
f o y e n r u o j a t u o b a s i l e v o n e h t t a h t e v e il e b o t e s u s ’ e l p o e
p samurai .Thewrtie r
h g u o r h t g n i z y l a n a y b y r o t s e h t d n i h e b g n i n a e m n e d d i h a s i e r e h t fi d n if o t y rt l li w
i h s a s u M l e v o n e h t n i t x e t e h
t .
.
B ProblemFormula iton
t n o s u c o f o t ,s i s e h t s i h t n
I hespeciifct opic,t hewrtierf ormulatest het opic :
s n o it s e u q g n i w o ll o f e h t n i
.
1 Howi sthecharacte rMusashipresentedi nt henovel? .
2 Howi st heCanons howedi nt hecharacte ro fMusashi? .
3 H ow i sDerirda Deconsrtuciton Theory i sconsrtucted i n t hecharacter fo i
h s a s u
M ?
.
C Objec itveo fTheStudy
d e t a l u m r o f d n a d n u o f o t s i y d u t s e h t f o s e v it c e j b o e h
T in the problem
n a o t s i m i a t s ri f e h T . n o it a l u m r o
7
o n k o t r e d r
o wwha tkind o faperson Musash iwas .Thesecondaimi st o ifnd ou t n o n a c e h t d n u o f r e ti r w e h t t a h t o s , i h s a s u M t u o b a l e v o n e h t n i n o i n i p o l a r e n e g e h t
t c u rt s n o c e d o t s i m i a d ri h t e h t d n A . d e t c u rt s n o c e d e b o t t c e j b o e h t e b l li w h c i h w
a d ir r e D g n i s u y b i h s a s u
M ’ sDeconsrtuciton theory which wli lhave a dfiferen t .
n o n a c e h t h ti w g n i n a e m
.
D Deifni itono fTerms
s i t a h t d r o w e h t , y d u t s s i h t d n e h e r p m o c o t d n a g n i d n a t s r e d n u s i m d i o v a o T
. d e n i a l p x e e b l li w g n i n a e m s ti d n a c i p o t e h t o t d e t a l e r y l e s o l
c Becauset hi spape r
i sanalyzing abou tJapanesenovel ,somos toft heword swli lcomef romJapanese f o g n i n a e m e h t w o n k o t y r a n o it c i d e s e n a p a J g n i s u t o n s i r e ti r w e h t t u b , e g a u g n a l
o t e c n a d i u g a s a k o o b r e h t o n a e s u l li w r e ti r w e h T . s d r o w s i h
t interpret the
. s d r o w e h t f o g n i n a e m
.
1 Samurai
k o o b e h t n i k o o r b t s e W e l e d A d n a i tt a R r a c s O o t g n i d r o c c
A Secret so fThe
i a r u m a
S ,samuraii sawariro rclassi n Japan who servest o al andlord .Theword i
i a r u m a
s tsel fmean s“Personwhos erves”( 1991 :83 .)
.
2 Ronin
r a c s
O Ratt iand AdeleWestbrook explain tha tronin d fife rfrom samurai , t
a h t y a w e h t n
i ronin do no thaveal andlord t o serve .Ori n othe rway ronin i sa .i
a r u m a s s s e lr e t s a m
8
d a h o h w r o ir r a w e h t ,r e t s a m a t u o h ti w i a r u m a s e h t o t g n ir r e f e r s a w r a l o h c s e h T
t e s n e e
b ad irtf ,ilkeawave ,ont hes eaofl fie:t her onin( B irnkley ,1991 :119 .)
.
3 Daimyo
k o o b e h t n
I Secret so fTheSamurai ,Daimyo can be rtanslated a s“Grea t ” s ti n u l a c it il o p d e n i a t n o c f l e s f o s r e l u r l a ir o ti r r e t e h T “ r o ” s e m a n
. ) 5 7 : 1 9 9 1 , a ri h a k u s T
( Daimyo can also be rtanslated into “Landlord” . Thi s d n a d n a l a h ti w s r e i d l o s s u o r e m u n d n a e lt s a c a d e n w o o h w n a m e l b o n a s i d r o l d n a l
o t e l p o e
p govern .
.
4 Canon
o t g n i d r o c c
A Oxford Advanced Learner’ sDicitonary ,canon deifnesa sa o s l a n a c n o n a C . d e g d u j s i g n i h t e m o s h c i h w y b e l p i c n ir p r o d r a d n a t s , e l u r l a r e n e g
. d e e r g a d n a d e t p e c c a m a e rt s n i a m a r o , n o i n i p o l a r e n e g a s a d i a s e b
.
5 Buke
k o o b e h t o t g n i d r o c c
A Secret so fthe Samurai ,buke i s rtanslated a s .
” s s a l c y r a ti li m “
.
6 Heimin
k o o b e h t o t g n i d o c c
A Secret soft heSamurai ,heimin i s rtanslated a s“the ”
s r e n o m m o c
9 CHAPTERI I
W E I V E R L A C I T E R O E H T
Thi schapte ri sdivided into four patrs .The fris tpar ti sthe review o f
d e t a l e
r studie.s Thi spar twli lreviewany bookst ha teve rdiscus sabou tMusash.i
e h
T second par ti sthe review so fthe related theo ire son the wrtier swork and
.s c i p o
t Thi spar twillr eviewt het heo irest hatt hewrtie rgoingt o usei nt hist hesi .s
d n a s e i d u t s e h t f o n o it u b ir t n o c e h t w o h s o t k r o w e m a r f l a c it e r o e h t a s i e r e h t , y lt s a L
e ir o e h
t st ot hewrtier sworkandt heory.
.
A ReviewonRelatedStudies
f o w e f a t s u j s i e r e h
T essays conducted toward sthe nove lMusashi .
o t d n u o f e r e w s k o o b d n a r e p a p e m o s , r e v e w o
H discussingt henove.lThef risti sa
, d e lt it n e k o o
b The Popula ra sa Correcitve to the Pure :Miyamoto Musash iin
t s e w e h t d n a n a p a
J by B iran Powell .Thi sbooki smosltycompairng t hewestern
s d r a w o t w e i v e s e n a p a J e h t d n
a Musashi .Western people (moslty Ameircans )
i s n o
c de rMusash ia sa characte rwho signi ife sthe economic srtategie sof et h
n i e n o d e b o s l a n a c e lt t a b n i y g e t a rt s s ’i h s a s u M r e d i s n o c s n a c ir e m A . e s e n a p a J
e u rt a , o r e h l a c o l a s a i h s a s u M s k n i h t s y a w l a e l p o e p e s e n a p a J e li h W . y m o n o c e
. k n i h t d n a e v a h e b d l u o h s i a r u m a s a w o h f o n o it p ir c s e
d Thi sdfiferen tway o f
s e m o c e b e v it c e p s r e
p the main issue o fthe book ,beside sanalyzing the reason
s i k o o b r e h t o n A . ti d n i h e
b Miyamoto Musash i- Hi sLfie and Wriitngs by Kenj i
. n a m s tf a r c d n a , s u k i a h , s g n it n i a p s ’i h s a s u M s e b ir c s e d i j n e K , k o o b s i h n I . u s ti k o T
0
1
2 1
f o y r o e h t e h T . s c it s ir e t c a r a h c s i h h ti w d e t c e n n o c n i t a h t g n i h t y r e v e d n a
o t e s u e b l li w n o it c u rt s n o c e
d deconsrtuc tthe resul to fthe canon o rthe genera l
e s u e b l li w n o it a t n e s e r p e r y r o e h t d n A . a e d
i d to ifndoutt hecanonoft hes tory.
.
1 Theoryo fCharacter
f o y r o e h T f o n o it a n a l p x e e h t , n o it a l u m r o f m e l b o r p e h t r e w s n a o t r e d r o n I
r e t c a r a h
C i sneeded. Thist heoryi suset oanalyzet hecharacteri nt hes toryandhi s
. s i s y l a n a e h t h ti w e c n a c if i n g i
s Thi s theory wli l be use to answe r problem
. e n o r e b m u n n o it a l u m r o f
a n
I Glossary o fLtierary Terms (1981:20) ,Abram s deifne scharacte ra s
e h t e r a r e t c a r a h c : s w o ll o
f person presented i nadramaitco rnarraitvework ,who
s e it il a u q n o it i s o p s i d l a r o m h ti w d e w o d n e g n i e b s a r e d a e r e h t y b d e t e r p r e t n i e r a
y a s y e h t t a h w n i d e s s e r p x e e r a t a h
t -dialogueandbywhatt heydo–theaciton.
b n a c ( n o s r e p a s i r e t c a r a h c t a h t s n a e m t
I eanimal i n fable )who have cetrain
y e h t t a h w y b r e h ti e d e w o h s e b n a c t a h t c it s ir e t c a r a h c a e v a h d n a , y r o t s e h t n o e l o r
. y a s r o o d
n i y h p r u M . J. M o t g n i d r o c c
A UnderstandingUnseens,t herearesevera lway s
.r e t c a r a h c a d n a t s r e d n u o t
.i Persona ldescripiton .The autho rcan descirbe a person’ sappearance and
.s e h t o l c
.i
i Characte ra sseen by another .Instead o fdescirbing characte rdrieclty the
r e d a e r e h T . r e h t o n a f o s n o i n i p o d n a s e y e e h t h g u o r h t m i h e b ir c s e d n a c r o h t u a
. e g a m i d e t c e lf e r a , e r e w t i s a , s t e g
3 1
.i
ii Speech .The autho rcan give u san insigh tinto the characte ro fone o fthe
.s y a s n o s r e p e h t t a h w h g u o r h t k o o b e h t n i s n o s r e p
. v
i Pastl fie .By l etitng t her eaderl earn something aboutt her eader spastl fiet he
s o t d e p l e h e v a h t a h t s t n e v e o t e u l c a s u s e v i g n a c r o h t u
a hape a person s
. r e t c a r a h c
.
v Conversaiton so fother .s Theautho rcan also give su scluest hrough aperson s
y a s y e h t s g n i h t e h t d n a e l p o e p r e h t o f o s n o it a s r e v n o c e h t h g u o r h t r e t c a r a h c
.r e h / m i h t u o b a
.i
v Reaciton. Theautho rcanalsog iveu scluet oapersonscharacte rby l etitngu s
w o h w o n
k tha tpersonr eactstovairouss tiuaiton sandevent .s
.i i
v Direc tComment .Theautho rcandescirbeo rcommen tonaperson’ scharacte r
. y lt c e ri d
.i ii
v Thought .s The autho rcan give u sdriec tknowledge o fwha ta person i s
t u o b a g n i k n i h
t .I nt hisr espec theablet odowha twecanno tdo i n r eall fie .He
. g n i k n i h t e r a e l p o e p t n e r e f fi d t a h w s u l l e t n a c
. x
i Mannerisms . The autho r can descirbe a person’ s manneirsms , habti s o r
.r e t c a r a h c s i h t u o b a g n i h t e m o s s u l l e t o s l a y a m h c i h w s e i s a r c n y s o i d i
.
2 Theoryo fDerrida’ sDeconstruciton
e
D consrtuciton i nab ire fexplanaitonasrtategy ofr eading anddeconsrtucitve
e r a s m r e t d e s o p p o o w t h c i h w n i y h c r a r e i h l a c i h p o s o li h p a “ m o r f s tr a t s g n i d a e r
i c e p s ’ r o ir e f n i‘ e h t d n a e s a c l a r e n e g ’ r o ir e p u s ‘ e h t s a d e t n e s e r
p a lcase.WhliePete r
4
5 1
s i t c e f f e e h t , e s
u thatt he whole i deat ha t Iam stableand eo n complete )
5 5 : 3 0 0 2 , p u r a S ( n o i s u ll i l a t o t a o t e g n a h c l li w y ti t n e
e z i c it ir c o s l a a d ir r e
D s srtucturailsm idea abou tbinary opposiiton .Derirda
g n i s o n s i e r e h t t a h t e u g r
a lemeaning ,bu tti i salway schanges andalway shavean
. y ti li b i s s o p d e ti m il n
u
nI P -ostStructurailsm and Postmodernism ,Madran Sarup also states tha t
. n o it c u rt s n o c e D s ’ a d ir r e D n i tr a p t n a tr o p m i n a s y a l p s r o h p a t e M
e g n a h c s y a w l a l li w g n i n a e
M anyitme ,and the process in meaning s
e g n a h
c i s called metaphor . Metapho r i s a threat fo r a systemaitc )
9 7 : 3 0 0 2 , p u r a S ( g n i n a e m f o y t e ir a v a s e t a e r c n a c d n a e g a u g n a
l
Metapho rplay san i mpo tran tpatr i n Derirda’ sDeconsrtuciton i n away t ha ta
d r o
w i sseparatedf rom ti smeaning .Tha tawordcanhavemoret hanonemeaning
h ti w d e t c e n n o c s
i Derrida’ sargument abou tsign and meaning. Tha ti swhy
. e g a u g n a l c ir o h p a t e m f o m r o f a s a t x e t g n i d n a t s r e d n u n i d e t s e r e t n i o s s a w a d ir r e D
e t s i h t t a h t s e u g r a a d ir r e
D x tasf ort hemetaphor i nside ti can no tbeobjecitveo r
t n e r e f fi d s a h f l e s ti t x e t e h t e r o f e r e h t d n a r o h p a t e M . h t u rt e l g n i s o n s i e r e h t
d a e r o h w e l p o e p y r e v e f o s t c e p s a r e h t o d n a y r o t s i h , e r u tl u c n o s d n e p e d g n i n a e m
.t
i Derirdabeileve t ha tmetaphor i ssomething t ha tcan provet heambigutiy o fa
e r o f e r e h T . t x e
t Derirdai nventedt heword“Dfiferance” ,o irginated f rom t heword
n i h c i h w , d r o w e h t f o d n e e h t n i ” e c n a “ e h t d d a o t d e d i c e d a d ir r e D , ” e c n e r e f fi D “
” e c n a r e f fi D “ d r o w e h t e c n a r
F i s“Dfiference” in verb version t hat mean sto
. e n o p t s o
p Derirda argue sthe logosentirsm concept swhich state so fa universa l
g n i h t e m o s s a d e t a e rt e b d l u o h s t x e t t a h t s e v e il e b a d ir r e D . ll a r o f g n i n a e m
g n i h t e m o s , s u o u g i b m
a tha tha san uncountable meaning ,and according to the
p e c n o
7
0 2
e h t n o s n e p p a h l e u d l a n if s i H . s l e u d d r o w s h ti w d e r o l o c s a w e fi l y li a d s i H
a m i h s a n u
F IslandwtihMusash’i sgreates t irval ,Sasak iKojrio .
B. Approach fo theStudy
To make the common opinion o rthe binary opposiiton in the nove lcan be
s i h t f o h c a o r p p a e h t s a m s il a r u t c u rt S e s u r e ti r w e h t , li a t e d e r o m h ti w d e z y l a n a
.r e p a
p In the book Anthropology and Anthropologists , Adam Kupe r quote s
e f fi l c d a
R -Browns tate sabou tbinaryopposiiton.
y b ’ ? w o r c d n a k w a h e l g a e y h W ‘ n o it s e u q e h t r e w s n a w o n n a c e W
f o d n i k n i a tr e c a g n it n e s e r p e r s a d e t c e l e s e r a e s e h t t a h t g n i y a s
n a il a rt s u A e h T . ’ n o it i s o p p o ‘ f o e n o l l a c y a m e w h c i h w p i h s n o it a l e r
t a h w f o a e d
i i shere called ‘opposiiton ’i sa paritcula rappilcaiton o f n a m u h f o e r u t a e f l a s r e v i n u s i t a h t y t e ir a rt n o c y b n o it a i c o s s a t a h t
d n a s d r a w p u , s e ir a rt n o c f o s ri a p y b k n i h t e w t a h t o s , g n i k n i h t
e w d n a g n o rt s , s d r a w n w o
d ak ,black and whtie .Bu tthe Ausrtailan o
c ncepiton o f‘opposiiton ’combine sthe idea o fa pai ro fconrtaire s w o r c d n a k w a h e l g a e t u o b a s e l a t e h t n I .s t n e n o p p o f o r i a p a f o t a h t h ti w
n e n o p p o e h t e r a s d ri b o w t e h
t t so fbeingantagonists( Kuper ,1983 :58)
According to the srtucturailst ,the highes tform o frealtiy i ssrtucture .The
e n o n e e w t e b n o it a l e r s i fl e s ti e r u t c u rt
s par tand anothe ro rcanbedeifned a spa trs
. e l o h w a m r o f t a h
t Language ,i fi ti sseen srtucturally ,exis tbecause there i sa
D f o m e t s y
S fiference and the core o fthi ssystem i sBinary Opposiiton .Binary
h c u s , e s l e g n i h t e m o s m o r f e ti s o p p o e h t s a d e r e d i s n o c t a h t g n i h t e m o s s i n o it i s o p p O
, g n o r w / d o o g , e n i n i m e f/ e n il u c s a m : s
a and soul/body . Binary Opposiiton ha s
r e d i s n o c h c i h w m e t s y s l a c i h c r a r e i
h stha tone thing are more supeiro rthan the
e n o r e h t
o , f o rexamplei st ha tmascu ilnewa sconsideredt o bemoresupeirort han
. y d o b n a h t r o ir e p u s e r o m s i l u o s t a h t r o e n i n i m e
f I twa sDerirda wtih hi s
1
2 2
s i d ri h t e h
T Synchronic and Diachronic . Diachronic i s how to study a
. y g o l o m y t e d n a e g a u g n a l e h t f o s s e c o r p n o it u l o v e e h t n w o d g n i k c a rt y b e g a u g n a l
e li h
W synchronici sastudyt ha tsee sal anguagea sasystemt ha thaveaf unciton
e b n a c e g a u g n a l e h t w o h w o n k o t n o it a g il b o e h t t u o h ti w e m it n i a tr e c a n i
v e
d elopeds of a.r( SutirsnoandPurtanto ,2005 :130 .)
.
D Methodoft heStudy
d e s u r e ti r w e h
T library research in thi sthesis .There i stwo kind o fsource s
. e c r u o s y r a d n o c e s d n a y r a m ir p s i t s ri f e h t , d e s
u Thep irmarys ourcei st henove lby
, a w a k i h s o Y i ji
E Musashi .Thes econdarys ourcei sbook sandaritclesf oundont he
t e n r e t n
i .
s ’ m a r b A e s u r e ti r w e h
T Glossary o f Ltierary Terms a nd Murphy’ s
s n e e s n U g n i d n a t s r e d n
U to explain theory o fcharacte.r To explain theory o f
d s ’ a d ir r e
D econsrtuciton ,the wrtie ruse Pete rBarry’ sBeginning Theory and
s ’ p u r a S n a r d a
M P -ostStructura ilsmandPo tsmodernism .Whliei nordert oexplain
n o it a t n e s e r p e r f o y r o e h t e h
t , the wrtie r use Andrew Gibson’ s Toward s a
e v it a r r a N f o y r o e h T n r e d o m t s o
P . The wrtie ralso use someAnthropology book s
s ’ r e p u K m a d A e r a s k o o b y g o l o p o r h t n a e h t , m s il a r u t c u rt s t u o b
a Anthropologyand
s t s i g o l o p o r h t n
A and CR Badcock’ sLevi-Srtaus sStructurailsm and Sociologica l
. y r o e h
T Anothe rbook tha ti sused by the wrtie ra sa reference i sTeori-teor i
n a a y a d u b e
K byMuj iSut irsnoandHenda rPurtanto.To ifndt hedeifniiton’ soft he
e l e d A d n a i tt a R r a c s O d n a , y r a n o it c i D s r e n r a e L s ’ d r o f x O e s u r e ti r w e h t s d r o w
s ’ k o o r b t s e
3 2
a n
I nalyzingt henovel ,st hewrtie rconducitngs everals teps .Fristi st or eadt he
n o it c u rt s n o c e D s ’ a d ir r e D e h t tr o p p u s n a c t a h t s li a t e d g n it s e r e t n i d n if d n a s l e v o n
e h t d e tr o p p u s t a h t s n o it a t o u q t n a tr o p m i n o s e t o n e k a m o t s i t x e N . y r o e h t
. t n e m u g r
a Th ridl ey,t h wrtie rconductsthe ilbraryresearchi nordert ocollec tdata
s e ir o e h t t n a v e l e r d n a s e i d u t s s u o i v e r p n
o tousei nt hestudy .ToanalyzeDerirda’ s
n o n o it c u rt s n o c e
d the novel ,the wrtie rcollect an informaiton abou tDerirda’ s
y r a r b il y b n o it c u rt s n o c e
d . eT h nex tstep i st o analyzethe problems .Thi sstep i s
e h t g n i s u i h s a s u M f o r e t c a r a h c e h t e b ir c s e d o t s i t s ri f e h T . s tr a p e e r h t o t n i d e d i v i d
.r e t c a r a h c f o y r o e h
t Thi spar twli l ifgureou twhoi sMusash,ii ncludingt o ifndou t
s s e n d n o f s i h , g n i k n i h t f o y a w s i
h andhi sambiiton.Secondi st oexplaint hecanon
f o a e d i l a r e n e g r
o Musashi .Thi spar twli lexplain t he canon or t he general i dea
A . e u s s i n o m m o c s a n w o n k d n a d e e r g a , d e t p e c c a s i t a h
t nd the thrid i sto
rt s n o c e d s ’ a d ir r e D g n i s u r e t c a r a h c e h t g n it c u rt s n o c e
d uciton t heory .Thi spar twli l
l li w s i h T . l e v o n e h t n i d n u o f r e ti r w e h t t c a f e ti s o p p o e h t h ti w n o n a c e h t t e e m
e h t t a g n i k o o l n i w e i v f o t n i o p w e n a n o t l u s e r l li w t a h t y r o t s e h t t c u rt s n o c e d
.l e v o n
6 2
h t a e d e h t r e t a l d n
a o fhi sbeloved mother .Munisa i(Musash ’i sfather) a sa
i a r u m a
s did notunderstand how t o rtea thi sson .He only knew how t o rtea t
e k a t i h s a s u M . r o ir r a w a s a e n o e m o
s s hisf ristl essonofs wordf encingf romt he
f o p i h s d r a
h hi sfathe.r Thi s dfiifcul t itme shaped Musash ito become a
o h w e n o e m o s s a o s l a d n a n o s r e p n r o b b u t
s doe snot give up easliy. In some
s tr a
p Musashi i ssimliar t o a classic superhero character .He ifght scirminal s
e n o l a l l a s i e h , s ti d n a b d n
a ,and he help sthe needy . Musash ican also be
e g a n a m e h t a h t y a w e h t n i r e v e l c r o t r a m s s a d e z ir o g e t a
c s to deceive hi s
. l e u d e h t t a e t a l g n i m o c y b s t n e n o p p o
Musashi si talented i n making calilgraphy ,making a t ea po to rform a
s i tr a n i t n e l a t s i H . u k i a
h veryr aref o racommons amura iilkehimatt ha titme .
y l h g i h s i o h w e n o e m o s s i e m it t a h t t a t s it r a n
A respected to have such a
.s g n i h t e u q i n u s e t a e r c r o e c u d o r p n a c t a h t ll i k s e u q i n
u hT ese aritst satlhough
m o r f r e f fi
d samuraiclass ,havethei rownplacei n t hesamedegreew tihthose
e h t f
o mlitiaryclass .Aritst scan no tcarry famliy name sand ea r forbidd ne to
d l o
h a sword . T he unique ye t somehow conrtas t characteirsitcs t ehat a r
d n e l
b edi nMusashi ,make mh i haveauniquepersonaltiyand dfiferen twayo f
m o r f t r a p a g n i k n i h
t other people’ son tha t itme. A samurai a ttha t itme i s
o h w e n o e m o
s eil s v in awo lrd apatr f rom aritst .s Samura ialway sprepares to
e h t e c a
f i rdeath anyitme 24 hour sa day whlie an arits t ilve a peacefu llfie
s i h t f o h t o b e v a h w o h e m o s i h s a s u M . r a w r o s l e u d h ti w d e r e h t o b g n i e b r e v e n
. y ti l a n o s r e p f o e p y t y r o t c i d a rt n o
c Thi suniquepersonaltiy si also showninhi s
r p o t n o it c e j e
7 2
l o o h c s g n i c n e f d r o w s a k o i h s o Y e h t h ti w l e u d l a n if s i
h . Thi sdescirpitonbased
l a e v e r n o it p ir c s e d s i h T . y lt c e ri d r e t c a r a h c e h t f o t n e m m o c t c e ri d e h t n o
a s u
M sh’i scharacte rbyt hecommen themadebyhimsel.f
e h ” ? g n i o d I m a t a h W “ . d n a h s i h w e r d h ti w y l k c i u q e h , fl e s m i h g n i h c t a C
, d r o c n o tt o c e ti h w d n a d e r h ti w d e ti a l p , e p o r e h T . r o r r o h n i t h g u o h t
o t g n i o g I s a w t a h W “ . ti f o d l o h e k a t o t m i h g n it i v n i e b o t d e m e e s
t f o I e v a h d e e n t a h W “ . fl e s m i h d e k s a e h ” ? t s e u q e
r hehelpoft heGods?
e b t s u m I d i a s s y a w l a I t ’ n e v a H ? e s r e v i n u e h t h ti w e n o y d a e rl a t o n I m A
h t a e d e c a f o t fl e s y m d e n i a rt I t ’ n e v a H ? e m it y n a t a h t a e d e c a f o t d e r a p e r p
a w a k i h s o Y ( ? y lt n e d if n o c d n a y l m l a
c ,1929 :523)
g e h t e v e il e b e l p o e p e s e n a p a
J od o fwa rcalled Hachiman .Many samurai
n a p a J n
i are praying for et h proteciton before they go to a wa ro ra duel .
y d a e rl a s i e h f i t a h t s k n i h t e h , e s i w r e h t o s k n i h t i h s a s u M , t a h t g n i o d f o d a e t s n I
t y d a e r d n a d e r a p e r p l l e
w o accept t he irskst hen hedoe tsn o have t o pray t o
.s d o G y n
a These unusua l behavior s perhap sare sor to f modern way o f
n w o h s g n i k n i h
t by Musash.i In the middle peirod o ffeuda lJapan ,there are
n o i g il e r s u o ir a v y n a
m s and beilef s tha t can be found .Zen , Shinto and
e r a m s i h d d u
B themajo rreilgion sat t ha t itme ,beside smino rbeilef ssuch a s
n e d d i
H (The Japanese ,1970 :6 9 .) Eji iYoshikawa creates Musash io fhi s
o h w e n o e m o s e b o t n o i s r e
v ha san open mind toward swha tthe Japanese
o o b a t r e d i s n o c e l p o e
p .Avoiding praying to hi sgo ds can infilc ta seirou s
e
p natly fo rJapanese people a tthose days .A person can be addressed a s
c it e r e
h andr eceive a heavypunishmentfo ravoidingprayingt ohi sgo d .s
Anothercharacteirsitco fMusashii shis l oyatly t oward swha thebeileve s
t h g ir s
i .Musashi llw oi d anythingt odefendhi sbeilef satlhoughhi satttiudet o
d i d e h t a h w e k il t s u j , e g a v a s s a d e z ir o g e t a c e b n a c e l p i c n ir p s i h w o ll o
f ont he
8 2
e c a f e h y a
d s the batlteon cI hjioj ihill ,wtih Yoshiokasword fencing school .
ti w s t h g if s ’i h s a s u
M hYoshiokaon I chjioj ihilli shist hrid encounte rwtiht he
a k o i h s o
Y a tfe rheface Denisich rio and Seujrio .For t he t hrid itme Yoshioka
r a e y n e e tr i h t a , o ri j n e G , ri e h t s a l r i e h t t n e
s -old boy .Bu tinstead o ffacing
e c a f a n o i h s a s u
M - ot -face duel ,Yoshioka use Genjrio only a sa symbo lo f
y e h t e li h w , l o o h c s r i e h
t preparel esst hana hundred war irors to kli lMusash.i
s i t a h w g n i w o n k y B . r e t c a r a h c e h t f o s t h g u o h t e h t n o d e s a b s i n o it p ir c s e d s i h T
e h t l a e v e r n a c r e ti r w e h t , o ri j n e G g n i y a l s r o f t u o b a g n i k n i h t i h s a s u M
e h t f o y ti l a n o s r e
p characte.r
y ti s s e c e n e h t n i d n a s e l p i c n ir p s i h f o y ti d il a v e h t n i d e v e il e b y lt s e n o h e H
r i e h t s a p u o ri j n e G t e s d a h a k o i h s o Y e h t e c n O . m e h t g n i d l o h p u f o
d r a d n a t
s -bearer ,there had been no atlernaitve to kliilng him .He wa s il
e h s a g n o l o S . l a r e n e g r i e h
t ved ,the Yoshioka Schoo lwould remain t u b , n e m y tr i h t r o y t n e w t , n e t d e ll i k e v a h d l u o c i h s a s u M . d e t a e f e d n u
g n il li K . y r o t c i v m i a l c s y a w l a d l u o w s r o v i v r u s e h t , d e i d o ri j n e G s s e l n u
n i d e ll i k n e e b r e t a l d ’ e h f i n e v e , r o t c i v e h t i h s a s u M e d a m t s ri f y o b e h t
f e h
t igh itng .By the law so fswordmanship ,there wa sno lfaw in thi s (
e t u l o s b a e r e w w a l e s o h t i h s a s u M o t d n A . c i g o
l Yoshikawa,1929 :536 .)
r a e y n e e tr i h t a g n il li k y
B -oldboy ,evensamurais andcommonpeoplewli l
F . e g a v a s s a i h s a s u M r e d i s n o
c o rMusash ipersonally ,anenemywli lalway sbe
d l o w o h r e tt a m o n y m e n e n
a they ear ,o rthe wha tkind o fgende rthey are
h t e h
w e rmale o rfemale ,old o ryoung. Musash iwli lalways eb loya lto hi s
. d r o w s e h t f o y a w e h t ,s e l p i c n ir p n w o
Hi sunusua lway of t hinking also affects theway he use shi ssword .Hi s
s i e l y t s d r o w
s perhapst hef ris tdu irngt hat itme. T sh i make shimunpredictable
t n e d u t s l o o h c s g n i c n e f d r o w s f o y n a o
9 2
e v a h e m it t a h t t
a a rule and technique that si completely d fiferen tfrom
. e u q i n h c e t s ’i h s a s u
M
y r a n i d r o e h t f o t a h t m o r f d e r e f fi d n o p a e w s i h f o e s u s ’i h s a s u M
t o n d i d w o l b t s ri f e h t fi , s e u q i n h c e t l a m r o n y B . e m it s i h f o n a m s d r o w s
o t y r a s s e c e n s a w t I .r i a e h t n i t n e p s s a w d r o w s e h t f o e c r o f e h t ,t c e n n o c
b e h t g n ir
b lade back before st irking again . Thi swa stoo slow fo r e c il s A . w o l b n r u t e r a s a w e r e h t , y ll a r e t a l k c u rt s e h r e v e n e h W . i h s a s u M
e c il s n r u t e r a y b n o it o m e m a s e h t y ll a it n e s s e n i d e w o ll o f s a w t h g ir e h t o t
t ,t h g il f o s k a e rt s o w t d e t a e r c e d a l b s i H . tf e l e h t o
t hepattern very much
n e n i p o w t e k
il eedlesj oineda toneend(.Yoshikawa ,1929:527)
Thi srare technique make speople who come from the st irc tand of ifcia l
o h c s d r o w
s o lcanno tunderstandMusash.iI nt hebatlteatI chjioj,iJ urozaemon
rt a p m o c s i h d n
a iot ,Genzaemon, i san expeirenced sword player .Bu twtih al l
e h
t knowledget hey haveabout sword ifght ,s t hey can no tpredic tMusash ’i s
.t n e m e v o
m In theset ermsi tmeanst ha thei sapioneert omakeanothe rword
s e if e d t a h t l e b e r a r o
f the rtadiitonalr ule sofJ apanesecode so fmarita latrs .
t a h t t a r e c n e f d r o w s r e h t o n a m o r f t n e r e f fi d i h s a s u M s e k a m t a h w , y ll a c i s a B
l e v a rt i h s a s u M . r e h c a e t o n d a h e h t a h t t c a f e h t s a w e m
it s al laround the
. s d o o w e h t n i r o s e v a c n i g n i p e e l s , e d i s y rt n u o
c Hel earnsf rom everything he
s e e
s and hears .I ti shi sinsitnc tto protec thimsel ftha td irves Musash iin
.s e u q i n h c e t s i h g n it a e r
c Hedoe snothaveany r olemodelt of ollow ,so hej us t
s t n u o
c on hi sown knowledge and hi sown brain to study, j ust the way he
f t s o m s i h d e t a e r
c amou stechniques ;the Two-Sword Technique Agains ta
a
L rgeForce .Hi sconsideraitoni ssopracitcalt ha tusingt wo sword sofcourse
t a h t g n i h t e m o s s a w s i h T . e n o g n i s u t s u j n a h t e v it c e f f e e r o m d n a r e tt e b s
i the
t o n d i d t n e d u t s g n i c n e f d r o w
s geti nt hei rschoo.lI n t hi scasehei scompletely
. c it a m g a r
0 3
d l o e h t e k o r b e H . g n i c n e f d r o w s n i y ll a i c e p s e , e u q i n h c e t s tr a l a it r a
m -fashioned
d n a t c ir t s o o t s i h c i h w s tr a l a it r a m e s e n a p a J f o e l y t
s nonpracitcal .
a t s d n a d r o w s r e ll a m s s i h w e r d i h s a s u M , t n i o p e m o s t
A tredt o ifgh twtih
w , s d n a h h t o
b hlie the large sword in hi s irgh thand wa ssmeared wtih d o h t e m s i h t ,s r a e y r e t a l n I … ti d l e h t a h t t s if e h t d n a t li h e h t o t p u , d o o l b
o w T e h t d e m a n y ll a m r o f e b o t e m a
c -Sword TechniqueAgains taLarge (
e c r o
F Yoshikawa ,1929 :529-530)
m o r f t n e r e f fi
D theothe rronin ,Musashii snotputitngtheoryi nto pracitce :
e
h ifghtsfris tandtheo irzeslate.r
e m o c e b o t n o it c e j e r s ’i h s a s u
M Shogun ,thehighes tposiiton t ha tasamura i
s a h , t e g n a
c madehim somehow dfiferentf rom theothe rroninand r etainers .
g n ir u
D hi s itme, t o beaShogun ist hegreates thono rfo rany samurai att ha t
. e m
it Ronin ki s nown fo rsword player swho do not havea master t o serve ,
y e h
t increasei n al argenumbe ratfert hegrea tbatlteo fSekighara .Thi sronin
h w r e y a l p d r o w s r o o p e r a y lt s o
m o rtaveilngal love rJapanl ookingf o ranothe r
n i n o
r fo radue.l They hopetha tby defeaitng anothe rronin, t hey can atrtac t
o y m i a
D o rlandlord’ satten iton to make them a sthei rretainer .Musash ii s
r e v o l l a g n il e v a rt d n a r o o p s i e h h g u o h t t a h t t n e r e f fi
d Japan f o raduel ,hecan
g n i z ir o g e t a c e b t o
n a saronin.
. h g u a l a h ti w d i a s i h s a s u M ” , d e l e c n a c s a w t n e m t n i o p p a e h T “
” ? g n i k o j u o y e r A ? d e l e c n a C “
” . o o t , g n i h t d o o g a t i r e d i s n o c I d n A . o N “
” ? g n o r w t n e w t a h w w o n k u o y o D . d n a t s r e d n u t ’ n o d I “
n o s a e r o n w a s I
“ to ask . Iam grateful t o heaven fort he way ti t urned ”
.t u o
” . y ti p a s m e e s ti t u B “
o d E f o s ll a w e h t n i h ti w y r o l g d n if n a c I n o i n i p o e h t f o u o y n e v e e r A “
” ? e lt s a C
( .r e w s n a t o n d i d e k u s o n n o
G Yoshikawa ,1929 :840).
1 3
s e n t a e r g t a h t n o i n i p o n w o s i h e v a h i h s a s u
M scan be found outside the
s ti e v a h o s l a s r e n o m m o c e h t g n o m a e v il o t t a h t s k n i h t e h , e lt s a c o d E f o s ll a w
n w
o greatness ,and t hi smake shim no tonly as ahumble person ,bu talso a s
d n a h t u rt d n a s s e n t a e r g n w o s ti s a h g n i h t y r e v e t a h t s k n i h t o h w e n o e m o s
s a s u
M h ifeel stha tthi sgreatnes si sno talway sin the form o fhuge casltes ,
.s u t a t s h g i h r o s e h t o l c d o o
g Thi shumblepersonaltiy i salso shownbeforehi s
b a n i s e v il o ri j o K e li h W . o ri j o K h ti w l e u
d ig and expensive house ful lof
e s o o h c i h s a s u M , y tr a
p s l to ive i n hi sfirend’ shouse ,who si jus tan ordinary
e
p rson .And Musash ineve rexpects to have many fo llower stha the neve r
s t c e p x
e anypeoplet ocomet ohimandt ellt hei radmriaiton.
s m a e r d t s e d li w s i h n i t o n d a h i h s a s u M , g n i m o c s a w t i w e n k e h h g u o h T
e l b a n e e
b to i maginewhati twould be ilket o setf o trhast hechampion s
r e w o ll o f f o r e b m u n e g u h a f
o and admriers .Thesizeoft hecrowd wa s d l u o w e h s a k l a t o t m i h r o f e l b i s s o p m i ti e d a m o s l a t I .t n e m s s a r r a b m e n a
n i a tr e c h ti w o t d e k il e v a
h people.( Yoshikawa ,1929 :924).
s a n w o n k o s l a s i i h s a s u
M a grea t srtategist . Somehow he h as the
d n a t s r e d n u o t e g d e l w o n
k people’ spersonaltiy .Likewha thappene id nt hedue l
m i h n e e w t e
b wtih Denshicrio and Sasask iKojrio .Deailng wtih Denshicrio
a s i o h
w drunkard and bad t empered person ,Musashit iresto makehim mad
.l e u d r i e h t n o e t a l g n i m o c y b
e h ” , e t a l u o y e r a y l n o t o N “ . s d n u o b o n w e n k n o it a r e p s a x e s ’ o ri c i h s n e D
g n it o o f t n e c e d a t o g t ’ n e v a h I d n A . y d a e r t ’ n e r a u o y “ , d e t u o h s
r e g n a t a h t d l o t e b o t e v a h t o n d i d o ri c i h s n e D … ” . e r e
h could resul tin
s a w e h , m i h y o n n a o t t r o f f e e t a r e b il e d s i h t f o e c a f e h t n i t u b , t a e f e d
n i d e n r a e l d a h e h s n o s s e l e h T . s n o it o m e s i h l o rt n o c o t e l b a n
u srtategy
a w a k i h s o Y ( . m i h d e tr e s e
d ,1929: 454).
4 3
n i a m e r n e tf o s n o s r e p e s e h T . r e ir r a c d o o
g bachelo rin orde rto stay focu son
. b o j ri e h
t Though tii sstli lambiguou swhy Musashi si so shy t o women , tii s
e h t a h t e l b a i n e d n
u focuse son swordplayinsteadonwomeno rd irnkhasl ead
. s s e c c u s o t m i
h Compared to Kojrio who fel lin love wtih Akem iand i s
e t o v e
d d ot he r entriely o rDenshicrio who ilked to d irnk sake , Musash i
s a h y l e ti n if e
d the irgh tatttiudet or eachhi sgoa.l
, y b b o h d n a s e d u ti tt a s i h n o d e s a
B Musashii sm oresimliart oaphliosophe r
a n a h
t r n oni or samurai. Hi sfondnes so f rtaveilng alone i n t he counrtyside ,
r e h t o h ti w y lt n e r e f fi d s g n i h t s e e s e h y a w e h
t people i smore simlia rto a
d r o w s a n a h t r e h p o s o li h
p player .Swordi sj ustt het ool ,andMusashif ound the
ti f I . y a l p d r o w s e h t f o y h p o s o li h
p i sno tsword instead o fa brush ,then
.r e t n i a p t a e r g a e b l li w i h s a s u M
e t c a r a h c s ’i h s a s u M n o h c a o r p p a r e s o l c a e v a h o
T irsitc le’ts head back
e h n e h w e m it e h t s d r a w o
t sw a ayoungboy . tIi sdesc irbedi nMusashitha thi s
d o o h d li h
c w asno tapleasan tone .Hi smotherl ef thim when hewasstli lvery
A . g n u o
y few year slate rhe found tha thi smothe rdied o fillnes .s T his
e d i c n
i nt schanged him from a quie tand gloomy boy into a village rtouble
-o s l a s i tI . r e k a
m thisi ncidentt ha tdrov eshimt oj oini nt hearmyonSekighara
n u r o t s p a h r e p , r a
w away from hi spainfu lmemory o fhi smothe rand stirc t
.r e h t a f s i h f o y ti l a n o s r e p
o z e k a
T hadl ovedhi smother ,buts hehadl ef thisf athe randmovedaway o h w t e n it r a m a , i a s i n u M h ti w e n o l a m i h g n i v a e l ,l l a m s l li t s s a w e h n e h w
d a h e h t a h t t n e v e y l e k il n u e h t n i d li h c a l i o p s o t w o h w o n k t ’ n d l u o w
a d a h y o b e h t , e c n e s e r p s ’ r e h t a f s i h n I . o t d e t n a
w lwaysf el tawkwardand
d a h r e h t o m s i h t a h t d e n r a e l o z e k a T ,. … e s a e t a y ll a e r r e v e n , d e n e t h g ir f
5 3
a m o r f m i h g n i m r o f s n a rt f o t c e f f e e h t d a h h t a e d r e H . d e i d d n a l li n e ll a f
d li h c y m o o l g , t e i u
q intot hevillagebully.( Yoshikawa,1929:16)
s i h
T chlidhood memor yapparenltyha smadehimt oescapef romt hepain
h e
h adf rom hi sch lidhood by j oiningthearmy on Sekigharabatlte ifeld .The
a
f c ttha the does no thave anyone by hi sside also made mh i to be an
. n o s r e p c it s il a u d i v i d n
i Thebertaya lo fhi sbestf irend ,Matahach iwhol etfhim
r o
f O ko make shim hard to ifnd someone he can rtust ,meaning tha the sa
w l
a ay scauitoust oeveryoneheme.t
” ? g n i o g u o y e r a e r e h W ! i h s a s u M , y e H “
e o z a m a Y s a w t i ; m i h d r a w o t g n i m o c n a m e h t d e z i n g o c e r i h s a s u M
e s i h s a s u M h g u o h T . i h c a p m a
D nsed immediately tha t Dampach’i s m i h d e t e e r g s s e l e h tr e v e n e h , p a rt a o t n i m i h d a e l o t s a w e v it c e j b o
( . y li tr a e
h Yoshikawa ,1929 :174 .)
n i e fi l s i h e v a s o t d e v o r p e n o y n a o t s u o it u a c t c a o t r o i v a h e b s ’i h s a s u M
r e h t o n A . s n o i s a c c o y n a
m examplei swhen Osugi ,hi senemy , rtapped him i n
n a c i h s a s u M , m o o r h t a b e h
t survivebecauseo fthe rtus thel acks inpeople .s
g n i k o o l y
B fromt hepointsabove,t hewrtier sconcludest ha tMusashii sa
r e t c a r a h c x i
m .To say t ha thei sahero i st ooabsurd ,becauseo fwha thehad
o t e n o
d thitreen year-old boy Genjrio. By kliilng Genjrio ,Musash ialso kills
t n a e m o s l a d n a e n il e fi l e h
t the end o f Yoshioka sword fencing school .
a s u
M sh istatr shi sannihliaiton toward sthe Yoshioka swhen fris the kill s
h n e h t , o ri h c i s i n e
D e conitnues to cirppled the oldes tson o fthe Yoshiokas ,
d n a r i e h t s a l e h t o ri j n e G . o ri j u e
S hope o fthe Yoshiokas si also killed by
s ’i h s a s u
M katana ,he end sthe long history o fone the mos tfamou ssword
. n a p a J n i l o o h c s g n i c n e
6 3
i h s a s u M , s y e n r u o j s i h f o e n
o encountered band so fbandtistha tplunderloca l
n i a rt d n a d e g a r u o c n e o s l a e h , s ti d n a b e h t s t h g if i h s a s u M , y tt e p g n il e e F . e g a ll i v
e g a ll i v r i e h t f o t u o s r e b b o r e h t e v ir d o t s r e g a ll i v l a c o
l and givet hem al esson
d l e if r i e h t e t a v it l u c o t w o
h .
e m o s e v a g d n a a s o m i h S n i s a w e H . t n e d i c c a e ti u q m i h s s o r c a e m a c I “
e h r e t a L . s ti d n a b m o r f s e v l e s m e h t t c e t o r p o t w o h n i n o s s e l a s r e g a ll i v
f o t c a rt a n r u t m e h t d e p l e
h wasteland into paddy.” (Yoshikawa ,1929 : .)
8 7 8
i h s a s u
M ’ spersonaltiyon t hewholei ssomeonewhoi sverypragmaitc .He
s t c a o h w e n o e m o s s
i based on t he stiuaiton ,apracitca lperson who doe sno t
e s u a c e b s i s i h T . y e b o o t e l u r n i a tr e c a e v a
h hedoe sno thaveanyt eache randa
i a tr e c a m i h e v i g o t l o o h c
s n rule sto obey .Hi stacitc sto face his enemy si
e h t ,l a c it c a r p y l e r e
m way he ifghts Sasak iKojrio i sdfiferentf rom the t acitc s
e s u e
h d whenhedeal swtiht heenemiesi nl argenumbers .Musash ineve ruses
s i h n o s e i g e t a rt s e m a s e h
t enemies; he act sdfiferenlty based on hi senemie s
T . s c it s ir e t c a r a h c s u o ir a
v hewrtie rcanno tdeifnewhetherMusashii sagoodo r
, n o s r e p d a
b because eh i sapracitca lperson.
.
B TheCanonShowni nMusashi
s i t i t a h t s n a e m o s l a n o it a t n e s e r p e r e c a f r u s r o n o n a c s i h
T the fris t
o S . t x e t e h t g n i d a e r r e tf a e n o e m o s f o n o it p e c r e
p thecanonoft hi swork also i s
.t x e t e h t d a e r r e ti r w e h t r e tf a n o i s s e r p m i t s ri f e h
t In the mos tbasic terms ,
f o d r a e h t s u j r o d a e r r e v e o h w h t o b e l p o e
p Musashiconsidert henoveli sabou t
i a r u m a
7 3
. y ti t n e d i r i e h t e n if e d t a h t s e d o
c Wh lie Musashi si considere sd a samurai ro
n i n o
r becauseoft hecommonopiniontha thei susingkatanaa shisweapon.I t
n e h w n o i s s e r p m i t s ri f e m a s e h t s
i mos tpeople recognize a cirminal in the
e i v o
m by wha the wears. hT i sgenera lidea can be vary depending on the
e r u tl u
c and background o feach person. Thegenera lconcepiton herefollow s
a e d i m s il a r u t c u rt s e h
t thatt herewli lbeonly onesinglemeaning f o rasign o r
. t x e
t Accordingt ot hi sapproach,t herecanonlybeasinglemeaningf o rat ex t
o t exist.
i h s a s u
M tisel fhasamajo rpatri ncreaitngt hi sgenera lopinion .Musash iin
s ti f o e n
o p s atr stated that Musashi si “The classic samura inove labou t
f t s o m e h t f o s ti o l p x
e amou s swordsman” .The novel si considered a sa
i a r u m a
s nove land the main characte ri sconsidered a sa samurai. Jus t ilke
t a h
w si descirbedhappene dbeforet he ifna ldue lbetweenMusash iand Sasak i
. o ri j o K
e t a c il e d r e h d e ll u p e h e n o y b e n o n e h T . y lt n e li s , y l w o l s , d e d o o n e H
p e e w t o n t s u m e fi w s ’i a r u m a s A “ . t c e r e d o o t s d n a m r a s i h m o r f s r e g n if
e m d n e S . u s t O , e m r o f h g u a L . r a w o t f f o s e o g e h n e h w s e c e i p o t o g d n a
s i h T . e li m s h ti w y a w
a could be you r husband’ s las t depatrure.” a
w a k i h s o Y
( ,1929 :962 .)
The event t ook placebefore Musash igoe s fo rhi s ifna ldue lwtih Sasak i
e k a m u s t O . o ri j o
K s he r ifna lconversaiton wtih Musashi ,and then Musash i
l e s m i
h fstatestha thei sasamuraibysaying“Asamura’i swfiemus tno tweep
” r a w o t f f o s e o g e h n e h w s e c e i p o t o g d n
a .I nt hes entence ,“As amura’i swfie”
r a e l c s i tI . i h s a s u M o t s r e f e r ” r a w o t f f o s e o g e h “ n i ” e h “ e li h w u s t O o t s r e f e r
e t a t s y lt c e ri d n i i h s a s u M t a h
t s tha thei sasamurai.
8 3
In the conversaiton between Musashi ,Dampach iand Banryu ,Musash i
a s a f l e s m i h r e d i s n o
c samurai .Musash iwa sangrywhenhe si askedt ousehi s
. y e n o m n r a e o t d r o w s
d e t a t s e h ” ! r e l b m a g a t o n m ’ I “ . d e t p u r e r e p m e t l u f h t u o y s ’i h s a s u M
I d n A . y lt n a n g i d n
i ea twtihchopsitcks ,no twtihmys word!” d
e t s e t o r p ” ? t a h t s ’t a h W
“ thet hree,i nsutledbyhisi mpilcaiton .“Wha tdo ”
? t a h t y b n a e m u o y
o t d n e t n i I d n a , i a r u m a s a m a I ? s l o o f u o y , d n a t s r e d n u u o y t ’ n o D “
w o N . s s e c o r p e h t n i e v r a t s I fi n e v E . i a r u m a s a n i a m e
r clea rou to fhere!”
) 6 6 1 : 9 4 9 1 , a w a k i h s o Y
(
I twa sclea lry stated t ha tMusash irecognized himsel fa sa samurai. Thi s
n e e w t e b n o it p e c n o c s i
m samura iand ronin o tfen happened because o fthe
e t a it n e r e f fi d o t s e it l u c if fi
d thet wo .Thewayt heydres sandwields word ,st hei r
s e k a m , l e u d f o d n o f ri e h t d n a e d u ti tt
a i thardt odisitnguish .
WhlieEdwinO .Reischaueri n hisf oreword statedt ha tMusash ibecomea
. e fi l s i h f o e t a l e h t n i i a r u m a s
t ll a s e t a rt s u ll i e fi l y lr a e s ’i h s a s u M f o t n u o c c a s ’ a w a k i h s o
Y hesechange s
n i a t n u o m a m o r f n i n o r l a c i p y t a f l e s m i h s a w e H . n a p a J n i n o g n i o g
t e r i a r u m a s d e lt t e s a e m a c e b d n a e g a ll i
v aine r only late in lfie
(Reischauer ,1929 :xii.)
Bu twha tReischaue rmenitons i sMusashii nt her eall fie .Musashii sar ea l
t a h t r e t c a r a h
c si aad ptedi nto a ifciton story .Thef ocu soft hi swork i son t he
n I . i h s a s u M f o e fi l l a e r e h t n o t o n d n a l e v o
n Musashi ,Musashi si arleady
a s a d e r e d i s n o
c samura ievenbeforehef oundamastertos erve.T hiscreateda
d n a t s r e d n u o t e l g n a w e n a r o n o it p e c r e p t n e r e f fi
d Musashi .Musash iin
i h s a s u
M o tfen also conside ra sa r noni o rin anothe rway a mastelres s
n a m s d r o w
s . Ronin appea rin a large numbe ratfe rthe wa ro fSekighara ,
9 3
e r a e r e h t t u B . e v r e s o t r e t s a m a r o f k e e s o h w n a m s d r o w s s s e lr e t s a
m roninwho
a s a s n i a m e
r ronin becauset hei rmaster i sdied and t hey remain loya lby no t
.r e t s a m r e h t o n a r o f k o o l o t g n it p m e tt a
e r t a h T
“ mind sme,”hesaid .“Oneoft her onin whosa ta tGudo’sf ee t ” . … o t o m a y i M d e m a n a k a s a m i M m o r f n a m g n u o y a s a w s y a d e s o h t n i
(Yoshikawa ,1929 :878).
a s i i h s a s u M t a h t g n it a t s y lr a e l c e v o b a n o it a s r e v n o c e h
T ronin tha tcome s
n i n o i g e r f o e n o , a k a s a m i M m o r
f Japan. Here i tclealry tha tthe person
a s a i h s a s u M r e d i s n o
c ronin.
The way Musashi dresse s and katana tha the wields ,make sthe wrties
a s a m i h d e if it n e d i y li s a
e samurai .Thecharacteirsitco fasamuraicaneasliy
e z i n g o c e r e
b d becauseno to fallJ apanesepeoplecanwieldkatana .Samurai ta
e h t s a h o h w e n o e m o s s i s y a d e s o h
t p irvlieget o carry t wo sword s(Long and
e h t o t e r a p m o c s u t a t s e g it s e r p r i e h t r o f h t o b l o b m y s a s a ) s d r o w s t r o h s
. r a w r o l e u d a r o f d n a e l p o e p n o m m o
c Many o ftheaspects in Musashi make
l e v o n e h t t a e rt o t e l p o e
p a sasamuraistory,t hedue lbetweenMusash iandhi s
s a h c u s , e d o c c i h t e i a r u m a s e h t d n a , c i p o t n i a m e h t e b s y a w l a t a h t s e o
f hara
-i r i
k o rthei rhigh value o fsefl-discipilne i ssomething tha tEji iYoshikawa
d e n o it n e m s y a w l
a in Musashi whliet heothe rpeopleonlyr ecognizeMusash i
. n a m s d r o w s a s a y l e r e
m Musashi succeed to mix between the j ourney so fa
h ti w n a m s d r o w
s al lo f ti smino rconfilct .s Musash ialso conside rto be a
r e h t e h w ( e l p o e p e s e n a p a J y n a r o f e l p m a x e t c e f r e
p samurai o r common
) e l p o e
p how to behave on a cetrain condiiton .Musash ii smore ilke a role
. w o ll o f o t e s e n a p a J e h t r o f o r e h a , l e d o
