In the first narrative, “ How a Thief Climbed to the Upper Story of Rasho Gate and Saw a Corpse ” which was rewritten by Akutagawa Ryunosuke into a short narrative “ Rashomon ” , the two characters was modified to make psychological tenseness. The narratives based on Konjaku Monogatarishu explicitly calls the immature adult male a stealer. Contrary to the older narrative, Akutagawa ‘s version portrays the adult male as one who is faced with a psychological quandary of whether hungering to decease or going a stealer after being discharged from his samurai maestro.
The Rashomon gate and the destroyed metropolis were described by Akutagawa as a puting damaged by war and the retainer ‘s safety for his interior psychological battle. In desiring to last, he must take between the two options: atrociousness or virtuousness. Akutagawa used the subject of word picture to the narrative from the fortunes of the samurai ‘s retainer. The former option is a despairing destiny he could barely warrant as he musters adequate bravery in order to last while the latter option is a samuraic belief of taking to decease instead than move dishonorably. The pouring rain was used by Akutagawa to typify the unknown hereafter of the destitute retainer as his bleak ideas travelled so halted to reason that he has no pick but to go a stealer. This determination is forgotten subsequently at the ugly sight of an old adult female stealing hair from a dead cadaver. He confounds an impulse to instead decease than to profess to such an evil act.
The retainer ‘s attack to evil is reversed after hearing the beldam ‘s statement as alibis for her despicable Acts of the Apostless. In the original narrative, the old adult female ‘s account is agonising instead than self-benefitting. The adult female decided to do a wig out of the the hair of her dead kept woman since she does non hold a nice entombment. The narrative of Akutagawa is brought from another position through the disclosure of the old adult female ‘s true purposes. Reluctantly, she tells the retainer that she sustains herself by selling wigs so alleviates by claiming that the dead adult female used to do a populating out of rip offing others. This self-seeking justification reverses the retainer ‘s initial averment. The narrative ends with a lay waste toing concluding blow that is used against her logical thinking. The immature retainer viciously robs the old adult female of her apparels, kicks her approximately into the heap of cadavers, and disappears into the dark. This illustrates the dry morality of the servant holding a dispassionate intervention to another homo while holding a greater regard for the dead and the beldam ‘s fallible logical thinking to salvage herself. Overall, it depicts post-war endurance ensuing to a scathed and abandoned morality for the interest of self-preservation while reacting to the animalistic side of one ‘s nature.
In the 2nd narrative, “ How a Man who was Attach toing His Wife to Tanba Province Got Trussed Up at Oeyama, ” which contributed to the recount of Akutagawa ‘s “ In a Grove ” , the married woman is depicted with fondness being the helpless adult female obeying the alien ‘s bid. In contrast, the adult female in Akutagawa ‘s narrative is narrated as a cunning character until vulnerably overpowered by the brigand ‘s emphasis. The failing of the married woman is portrayed in her ambiguity as Bodhisattva and transformed to her passionate response to the brigand after the colza. Her repute seems to be more crippling than her treachery to her hubby.
The hubby in the old narrative is criticized as greedy reverse to Akutagawa ‘s narrative which describes him as a samurai shuning his married woman ‘s scandalous response to the brigand. The hubby is besides a powerless samurai filled with fury and green-eyed monster in a agonizing state of affairs of seeing his married woman raped and finally leads to his fatal decease.
In the old narrative, the raper disguises himself with heroism than the samurai. Akutagawa uses this as a cardinal subject of this dark narrative. The narrative begins with the slaying of the samurai in a grove in the wood. The readers are compelled to analyse the inquiry: “ Who murdered the samurai and why? ” Akutagawa did non show the secret plan in a chronological narrative signifier like the Konjaku ‘s but through a non-linear informant history of the incident. Besides apparent are the add-on of the witness statements of other four characters – the woodcutter, the monastic, the old adult female and the police officer. The dismaying confession comes from the dead adult male who told his side of the narrative through a fabulous medium. For Akutagawa, all truths are comparative and therefore there are no truths at all.
The apparent alterations in two of Akutagawa ‘s narratives are: the usage of word picture to make a psychological complexness, the self-contradictory exposure of the dark side of the characters to achieve enlightenment for the readers, the moral, philosophical and psychological strife of the Nipponese socio-religious civilization under dire fortunes and the misogynous position because of the immorality and misrepresentation of female characters to salvage themselves.
Akira Kurosawa ‘s Rashomon based his secret plan from Akutagawa. In his version, the woodcutter becomes an eyewitness to the offense by giving a 2nd history. He combined the two unrelated narratives by maintaining the thematic stuff of “ In a Grove ” replete ( except for the testimony of the female parent of the married woman ) and rewriting the “ Rashomon ” . It retains the narrative ‘s scene, the bedraggled gate, the attitude of the common man towards survival through self-preservation and the conversation about pandemonium and desolation in Kyoto. The movie emphasizes the narcissistic nature of adult male which consequences to societal pandemonium whereas the text identifies the events as natural catastrophes. Kurosawa based the character of the common man from the retainer. The treatment of the testimonies are framed within the general narrative at the Rashomon as told by the woodcutter, interpreted by the priest and actively responded by the common man. A farther incident added by Kurosawa that aimed to unite the meta-narrative of the movie is the find of the orphaned baby. While Akutagawa emphasized the importance of moral values and happening the truth, Kurosawa is more concerned about an stoping with a possibility of hope. Though the woodcutter ‘s version seemed to be the most dependable, the scene of the baby leaves us to oppugn his 2nd history.
The cardinal subject of Rashomon is the conflicting fluctuations of truth. The relativity of the truth, or its non-existence, is caused by an intricate uncertainty of the characters ‘ motives. The self-seeking nature of adult male and the subjectiveness of moral values are responsible for its incompatibilities. From Rashomon, Kurosawa argues that the unresolved readings to the pure truth lead to fallibility when trust is fragmented.
Since the truth is comparative, it is impossible to find who says the truth. The blameworthiness of memory, narcissistic motive, the ambiguity of purpose and biased perceptual experience forces us to trust on given and subjective truth. The incompatibilities of the eyewitness histories are a hinderance to the truth. Rashomon ‘s point of statement is that it lets the viewing audiences to delegate credibleness to the characters and do their ain stoping. Truly, as articulated by the common man, it is human nature to bury unpleasant things so they have their ain version of the narrative.