Alan G. Chalk Guides to Japanese Films
Lesson 7: The Holy Man of Mt. Koya
Reading: "The
Holy Man of Mount Koya," 1900 story, Kyoka,
Film: animated feature The
Priest of Mt. Kouya, 1986, Kondo
Suggested grades: 12th and college
(Although the video is unrated and advertised
as "suitable
for most audiences," The Priest of Mt. Kouya does
contain animated
nudity and the sexual implications of a woman who seduces travelers and
transforms them into animals.)
Themes:
A tale of a holy man's archetypal journey
through a hell-like
wilderness and fleshly temptation to knowledge of man's and
his own nature
and a deeper meaning of love.
The story:
Although Izumi Kyoka (1873-1939) was during his life a
popular and respected author of tales of fantasy, mystery, and romance,
his work was not widely available in translation until 1996
when the University
of Hawaii published Japanese Gothic Tales by Charles
Shiro Inouye.
Now, the combination of the print and visual forms can open up "Kyoka's
World" to mature high school students of Japanese literature. However,
the two forms present rather different stories. The 23-minute animated
version oversimplifies the narrative to a clearly defined
conflict between
good and evil. The 52-page story provides considerably more background
and depth.
A young wandering Buddhist monk from Mount
Koya on a pilgrimage
to Shinshu takes a rarely traveled path into a mountain
wilderness where
he encounters first a field of snakes, then a dark forest of
raining bloodsucking
leeches, and finally in a secluded mountain cottage a
beautiful, alluring
woman with mysterious powers. There he must decide whether to give up
his religious mission and remain with the woman or to continue his life
as a wandering monk.
In the animated version the woman is a
beautiful seductive
witch. In the print version, she is more complex, a woman
with the power
to nurture and heal as well as the power to transform men into animals.
In both she reigns over her dark world with a fascinating yet
frightening
love.
Teaching:
The story is enchanting, although in the
animated version,
at times, a little silly. But the print version is powerful and pulls
us into its gothic world with a brilliant verbal and visual style. This
apparently is the art of Kyoka, reminiscent of the best
writing of Edgar
Allan Poe. For this reason I suggest starting with the print.
If the story
is too long, sections may be assigned: pages 6-9 deal with the monk's
Dante-like passage through the snakes and leeches; 10-17,
with the monk's
encounter with the woman and the central waterfall bathing scene; and
24-26 with the monk's decision whether or not to stay with the woman.
These final sections also provide a dimension to the story neglected by
the animated version. The woman's story of how she became attached to
her grotesque and crippled husband and then stranded in the mountains
reveals the loving and compassionate side of her character.
This contradiction
to her demonic side creates a more ambiguous, complex, and fascinating
character. The monk's dilemma and decision at the end is not simply the
temptation of the flesh but rather the blurring of lust and
love. Showing
the animated version following the study of the story leads
to a critical
approach, questioning what has been left out of the video and how the
absence of those parts changes the possible interpretations.
copyright Alan G. Chalk 2000