Momotaro
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Transcript of Momotaro
![Page 1: Momotaro](https://reader036.fdocuments.us/reader036/viewer/2022081804/544d9069af7959f7178b4c09/html5/thumbnails/1.jpg)
The Young Hero archetype in Japanese Folktale
Jeff Hicks
March 1, 2012
Momotaro is a classical japanese folktale painting Momotaro’s rise from childto lord. The young hero archetype is employed throughout the story to por-tray Momotaro’s as a firm leader whose humble origens give him a reserveddemeanor. We see many parallels to the storytelling techniques found in Mo-motaro to other Japanese folklore, notobly the story of Issun Boshi, the one inchwarrior, and Kintaro, the golden boy. The elements of unnatural birth, growth,departure from home and subsequent return after a heroic journey is a commontheme in the Japanese folklore tradition, and raise certain expectations for theprotagonist. The reader expects him to be driven in his resolution to fufill somehigher destiny, yet reserved and well mannered due to his life amoung common-ers, and in this sense, living a lifestyel complimentary to Confucian ideals. It isthis humble nature despite unusual or superior ability that characterizes manyyoung male protagonists in Japanese mythos.
Both Issun Boshi and Momotaro open on a respectful couple wanting toconceive but unable to have a child. The couple prays to their deity, and arerewarded with a remarkable child born under unusual circumstances. The oftensupernatural origen of the boy signals a indicates a destiny for the child, thoughby his birthd he is to be raised by commoners. In both cases, the baby is namedafter it’s mystical characteristic. In this story, Momotaro is born of a peach, arather unassuming and docile fruit. It symbolizes a peaceful, respectful orgin.
Once the origen narrative is completed, the story quickly moves on to thenext dialogue. The raising of the child is so unremarkable, that it is often skippedentirly and left to the reader. Sazanami’s account of Momotaro condenses hisformative years to a simple ”Well! Time passes quickly! and Peach-Boy wasfifteen years old.” What is most important is that the young hero is to be raisedin a completly undistiguished household, and will live a modest lifestyle.
In both of these japanese myths, Momotaro and Issun Boshi leave home toparents who are reluctant to see them go, but parents who are understanding.In both of these graduation scenes, the protagonist is polite, respectful, andapologetic for having to leave. This emphasises the values that these young heroshave inherited from their unassuming upbringing; a respect for elders, and aunderstanding of filial piety, both concepts that draw influence from Confucism.In addition, Momotaro’s parents leave him with three millet dumpings– the foodof a commoner, but claimed by Momotaro to be ”the best millet dumplings inJapan.”
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![Page 2: Momotaro](https://reader036.fdocuments.us/reader036/viewer/2022081804/544d9069af7959f7178b4c09/html5/thumbnails/2.jpg)
Momotaro shows an exceptional humbleness and understanding, whicic iscontrasted against his often hotheaded compatriots. Momotaro’s level headednature allows him to mediate conflicts between the spotted dog and the monkey,and we see his consideration and civility when he gives the ogres a chance tostand down. This humility of the protagonist is characteristic feature of thisgenre of Japanese folklore. We see similar humbleness in Issun Boshi when heasks a lord to be his retainer, and we expect Momotaro to have these desireableand honorable qualities.
The Japanese folklore gives an exempliary picture of how a young manshould behave according to confucism principles. The growing hero archetypemukashibanashi is a standard for young children, and its message is simple: thatgreat rewards in life can be found through hard work and respectfullness.
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