Featuring awesome swordfights, epic Character Development, melodramatic loves, thrilling escapes, and thoughtful reflections that don't sound like they came out of a Cracker Jack box, Musashi is perhaps the quintessential samurai epic. A longSerial Novel written by Eiji Yoshikawa and published between 1935 and 1939, this novel follows the path of legendary RoninMiyamoto Musashi as he slowly transforms from violent thug to Martial Pacifist using the Way of the Sword. It's had several adaptions over the years, the two most notable being the Samurai Trilogy of films starring Toshiro Mifune, and the manga Vagabond by Takehiko Inoue.The story of Musashi's quest to become the greatest swordsman of all time begins, ironically, with him lying among the wounded after the Battle of Sekigahara, which historically marks the beginning of the end for the era of great wars and honorable single combat among Samurai. Musashi, at this time named Takezo, and his childhood friend, Matahachi, with their dreams of military glory crushed, start on the business of evading search parties and trying to make it back to their home village of Miyamoto. Unfortunately, Matahachi falls in with bad company and ditches Takezo. Takezo, now pettily seeing himself as being at war against all mankind, goes on violent rampage in Miyamoto. Luckily for him, when he's eventually captured, its not by the superior numbers of the law, but through the keen insight of Zen monk Takuan Soho.Takuan, seeing something in Takezo worth saving, finagles him out of a certain death sentence and inspires him to make something of himself. After locking him in a room with a bunch of books for a couple years, Takezo, now named Musashi, sets off into the world to seek mastery of the sword. However, the bullheaded matriarch of Matahachi's family, Osugi, simply will not accept that her son's disappearance is not Musashi's fault and pursues him with the intent of killing him and restoring her family's honor. Also chasing him is the virtuous and pure Otsu, who pines for him and whom he must reluctantly deny if he is to continue his path. On his journey, he also runs into Matahachi, now a pathetic ne'er-do-well; Jotaro and Iori, kids who become his apprentices; and Akemi who, after getting out from under the thumb of her vile mother, rounds out Musashi's love triangle due to the fact that he's one few people she's met in her life who hasn't abused her in some way.And even without them, his path is strewn with obstacles. His opponents range from the amiable staff-fighter Gonnosuke to the decadent but still competent Yoshioka School to the vicious chain-and-sickle master Shishido Baiken. But his growing fame is matched by that of Sasaki Kojiro, an amazing but spiritually-stunted prodigy. A rivalry develops between them which they both know must be settled, sooner or later...
Bad Ass: MUSASHI. Most of the other martial artists in this book qualify.
Back-to-Back Badasses: Gonnosuke watches Musashi's back so Musashi can focus on fighting Shishido Baiken.
Based on a True Story: Straddles the line between this and Very Loosely Based on a True Story. Takezo did fight at Sekigahara, did change his name to Musashi and did fight a lot of the people he did in this book. However, the specifics of each fight are murky and there's no evidence of him being mentored by Takuan or adopting Jotaro, although he did adopt an Iori after the events of the book.
Blood Knight: Musashi and Kojiro have shades of this, but Musashi is mainly focused on becoming a master while Kojiro will often pick a fight for self-aggrandizement or because he gets a sadistic pleasure from winning.
Blue and Orange Morality: To a 21st-century modern reader, the world that Yoshikawa immerses them in may seem to run on this. Two of the main points for this is the casual way people deal out violence and the institutionalized sexism which every character has internalized in some way. When Seijuro rapes Akemi, it's presented as a distastful lapse on his part but not as the Moral Event Horizon that it would be today. Akemi even reflects that he wasn't that horrible a man after Musashi defeats him.
Musashi is this to all the other samurai. When he is barred from meeting (and challenging) a great sword master, Musashi promptly declares a battle between himself and the castle the master resides in. This strikes the guards as being melodramatic bordering on laughable, but this is the way Musashi looks at it. He's not looking for a mere contest of technique; he trying to test himself with fights where the fighters use all their spirit and all their ability to try and defeat the other. Whether or not they are two generals or two samurai is irrelevant. The prime example of this is when he "battles" the Yoshioka School. After defeating Seijuro and Denishiro, the leadership of the school transfers by hereditary succession to twelve-year-old Genjiro. Musashi is challenged to fight the child, assisted by retainers. In reality, the entire school is going to be there. Musashi stealthily slips past the outlying members until he is within range, whereupon he jumps out, declares the fight started, and, ignoring most of the retainers, slashes his way toward the terrified child and kills him. This act, which could have no effect on the outcome of the fight, shocks and outrages the Yoshiokas and Kojiro. Admittedly, killing Genjiro is a strain on Musashi's way of thinking, with the act still bothering him no matter how many times reminds himself that he was "justifed".
However, Musashi tries not to pick fights where the enemy is weaker than him. When he fought Seijuro, he knew from a glance that he couldn't lose. Realizing that even Seijuro knew, on some level, that he didn't have a chance, Musashi tried to think of a way to call the whole thing off but realized that he couldn't decently do so.
Character Development: The Novel. This may have some basis in Real Life. Although he probably never became the samurai ideal he was presented as in the book, at least not until the last years of his life, it is known that Musashi stopped fighting fatal duels after the events of the novel, prefering to beat enemies without hurting them. He also became something of a Renaissance Man, becoming an expert in woodcarving, metalcrafting, and painting.
Combat Pragmatist: Musashi developed his technique based on what works, giving him an advantage while fighting the Yoshiokas.
Dead Person Impersonation: Matahachi tries to find that elusive "starting position from which I can become successful" by impersonating Kojiro, whom he thinks is dead. He's not.
Determinator: Musashi. Nothing, not riches nor love nor threats, will stop him from achieving mastery. As he started his quest, he would go to temples and say two prayers. One was for his sister, and the other was: "Please test the lowly Musashi with hardship. Let him become the greatest swordsman in the land, or let him die." This is later said to be the secret to his success:
On an upcoming duel involving Musashi
Koetsu: It'll be a test of strength between a man who's a genius, but really somewhat conceited, and an ordinary man who's polished his talents to the utmost, won't it?
Gonnosuke: I wouldn't call Musashi ordinary.
Koetsu: But he is. That's what's extraordinary about him. He's not content with relying on whatever natural gifts he may have. Knowing he's ordinary, he's always trying to improve himself. No one appreciates the agonizing effort he's had to make. Now that his years of training have yielded such spectacular results, everybody's talking about his 'god-given talent.' That's how men who don't try very hard comfort themselves.
Hope Spot: Musashi reunites with Jotaro and Otsu, allowing the former to resume his training and giving the latter a chance to talk him into being with her. Otsu convinces him that she wouldn't interfere with his training, and Musashi agrees to have a relationship. On top of that, Matahachi meets up with Musashi and is persuaded by him to become a scholar and turn his life around. Of course, it all goes straight to hell.
Hysterical Woman: While Seijuro and Musashi fight, Kojiro attempts to provoke a fight with some Yoshioka swordsmen. Akemi comes out of nowhere and starts shrieking to everyone that he raped her. The whole thing is so random that the swordsmen think Akemi is this.
I Shall Taunt You: Musashi, seeing a battle as beginning before the actual fight, does this. He was famous for it in real life.
Improbable Weapon User: Baiken's chain and sickle. Musashi had heard of the weapon, and seeked out Baiken to learn more about it. Although Baiken's wife showed him a stance during their first meeting, Musashi never saw the weapon in action until he fought Baiken.
I'm Standing Right Here: After Musashi's last fight with the Yoshiokas, Kojiro denounces him to a crowd of people. He accuses Musashi of depravity for killing Genjiro and of cowardice for running away. Sure, Musashi was able fend off and kill dozens of Yoshioka swordsman while escaping, Kojiro says to the crowd, but a real swordsman can fight several times his own number, especially when they are as weak as the Yoshioka School. After he finishes making his speech, noted to be a slight exaggeration of what he sincerely believes, he makes to leave and is chilled to notice Musashi smiling at him. Musashi kindly thanks him for his critique and tells him that he won't forget his words. Kojiro, catching the drift, politely tells Musashi that he wouldn't want him to.
Jidai Geki: Specifically, the story takes place during the early years of the Edo Period of Japanese history, actually beginning with the aftermath of the Battle of Sekigahara, which marked the tilting of the balance of power in the favor of the Tokugawas. It also takes place before the siege of Osaka Castle, which was essentially the death knell for the Toytomis. In fact the conflict leading up to that final battle runs through some of the subplots in this story (with Matahachi actually getting swept up in an attempt to assassinate Tokugawa Hidetada). In fact, much of the book's focus is on the transitional nature of the role of the samurai in this particular period, with the end of the Sengoku era meaning that the demand for numerous warriors to serve as soldiers for the many daimyos vying for control has dwindled. As a result, much of the story's focus is on the characters, including Musashi, trying to find new ways to employ the Way of the Sword for different purposes. In particular, Musashi is said to pursue the Way of the Sword as the Way of Governance.
A Man Is Not a Virgin: Played With. Matahachi's letting himself be seduced is essentially what ruins his life, putting him in a hole that he spends the rest of the book trying to get out of. On the other hand, Yoshino calls out Musashi for his almost neurotic adversion to women, saying that it's made him brittle and less able to withstand that form of temptation. And she's right. See Near-Rape Experience
Mook Chivalry: Averted. All the honorable samurai stuff you read about the Yoshiokas on the Vagabond page? Doesn't happen here.
Mundane Utility: In the final third of the novel, Musashi's development shifts from focusing on martial development through duels to focusing on ways to apply the Way of the Sword to situations and settings outside of the battlefield. This is a trait fueled by the transitional nature of the era Musashi lived in, with the Warring States period giving way to the early years of the Tokogawa Shogunate, thus the need for Samurai as foot soldiers fighting for daimyos has dwindled, leading many Samurai to look for alternative means to apply their skills and knowledge (as opposed to just becoming bandits, which many do). Musashi, in particular, at one point experiments with working as a farmer to apply the principles of swordsmanship to mastering one's environment in order to help develop a piece of land in a mountain village. Once they adopt Musashi's ideas, the village ends up prospering.
Near-Rape Experience: Yoshino was right. Musashi's long buried feelings toward Otsu suddenly overwhelm him, and he grabs her. He comes back to himself when Otsu resists, and realizes how far he still has to go. Musashi, being Musashi, jumps into a waterfall hoping to regain his discipline. Otsu, being Otsu, forgives him. The scene, in the movie, marks Musashi's transformation from Arrogant Kung-Fu Guy to Martial Pacifist.
Not Afraid to Die: One warrior temple actually has challengers sign a disclaimer before fighting them. Musashi thinks it is absurd, as a swordsman should always be prepared to die. He later reflects that it isn't really that hard a thing to do, given that we're all going to die eventually.