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57 pages 1 hour read

Katsu Kokichi, Transl. Teruko Craig, Illustr. Hiroshige Utagawa

Musui's Story

Nonfiction | Autobiography / Memoir | Adult | Published in 1843

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Chapter 6Chapter Summaries & Analyses

Chapter 6 Summary: “Life After Retirement”

When Katsu retires, he becomes a lay Buddhist priest by submitting a request to his commissioner. This was a common practice that did not involve either discipline or special training. At this point, the author changes his name to Musui, hence the title of this book.

 

During retirement, Katsu continues engaging in money-generating schemes to stay afloat. One of his jobs is working as a retainer for his landlord Magoichirō Okano, for whom he previously found a wife. Attending a gambling session with dozens of wealthy merchants, in which Katsu claims not to participate, the author is suddenly inspired to engage in usury: “The gambling gave me the idea of lending money to friends and acquaintances at high interest. It was a profitable arrangement, as I soon found out” (111).

This chapter features two illustrations: one of Nihonbashi and another unlabeled image of what appears to be an open-air marketplace (112-13, 116-17). The Nihonbashi image depicts a bustling crowd scene of the Nihonbashi part of Tokyo (Edo) around the Nihonbashi River and its historic bridge. Dozens of people go about their daily tasks, and the water is full of boats. The marketplace scene features an everyday scenario with men and women out and about, shopping, transporting goods, and interacting with each other.

In many ways, Katsu’s lifestyle remains the same. He continues frequenting the Yoshiwara pleasure quarters, where he not only spends time with the courtesans but also picks fights on purpose. At the same time, he participates in pilgrimages and visits many shrines, including the Katori and Kashima Shrines, as well as the Nose Myōken Shrine when traveling through his landlord’s fiefdom in the Osaka area.

The author spends a significant portion of this chapter describing an extended incident that takes place between his landlord, Magoichirō Okano—his landlord—and Jōsuke Ōkawa, a man hired to manage Magoichirō’s finances. Jōsuke appropriates substantial amounts of money, 30 ryō, from Magoichirō. He then burns his accounting books when Magoichirō is inebriated, making it difficult to prove theft. This situation escalates to the point of involving multiple family members. Jōsuke petitions the senior commissioner Bingo-no-kami Ōta with his grievances, as the latter is on the way to work at the Edo Castle. Petitioning an official on his way to work is a criminal offense at this time, and Jōsuke is placed under guard. Neither side concedes their demands. The author claims that he was asked to deescalate the argument. Katsu gathers signatures from the Okano family members and tells them that Jōsuke’s mischief is ultimately the family’s fault: “Personally, I think that Jōsuke cheated the accounts by taking advantage of the total lack of supervision. But it was Magoichirō who was responsible for the loss of the account book” (126).

Katsu ultimately convinces Jōsuke to settle by paying him partially and promising him a full payment of his stipend. Happy with this resolution, the Magoichirō’s family “greeted me with smiles and made a big fuss,” Katsu boasts (127). However, the amount of money promised to the thieving Jōsuke has to be raised. As a result, Katsu acts as a retainer for the Magoichirō family and travels to their fief in Settsu Province, today’s Osaka Prefecture. This trip is not authorized by the government and causes Katsu problems later.

Upon arrival, Katsu requests some money from the villagers. He operates under the assumption that the villagers lent 500 ryō. However, the farmers claim to have already lent more than 700 ryō. The discrepancy is substantial, and the two sides cannot agree.

To convince the farmers, Katsu engages in several forms of manipulation. For instance, he uses as leverage a favor he once did for a friend, Yauemon Shimoyama, who is employed by the Osaka magistrate. Katsu receives a message and boxes of food from the magistrate, which impresses the villagers led by Shin’uemon. The author brags, “It was really funny” (131).

After this, Katsu impresses the villagers even more with divine intervention. Heading to the Nose Myōken Shrine on a beautiful day, Katsu claims that he could control the weather: “Then let me tell you that I’ve been devoted to Myōken-sama for many years and that every time I pray, it pours” (132). The weather indeed changes, and it begins to rain. While everyone else gets wet, Katsu spends the time tucked away in a palanquin. The author claims that this supernatural incident truly impresses the villagers:

You are a man of truly strange and wondrous powers. You knew all along to mean only one thing—that the gods pay special attention to your prayers. Yes, indeed, the honorable bannermen of the shogun are really different. The likes of us could pray for a hundred days, and this would never happen (133-34).

None of these measures lead to raising the necessary amount, however. As a result, Katsu publicly announces that he will commit hara-kiri:

But I, Kokichi, failed to raise the money, and having accomplished nothing, I cannot go back to Edo. In atonement, I have decided to commit hara-kiri tonight. My request is simply this—that all of you here see to it that my corpse is delivered by appropriate officials to my son in Edo (139).

Katsu removes his kimono and requests his head to be cut off, as was the custom after this suicide ritual. The villagers beg Katsu to stop: “They besieged me weeping and sobbing” (140). The villagers collect the necessary amount of money and give it to the author by morning. Katsu then punishes some of them:

I demoted the village officials who had been particularly defiant to the status of plain water-drinking peasants and replaced them with men who served in Gōsetsu’s time. To those who had lent money, I granted the privilege of bearing surnames, and to Shin’uemon, I gave a set of ceremonial robes, a house, and a plot of land with a yield of almost one koku of rice (141).

Delivering the money to his landlord, Katsu boasts that the family “talked as if I were a living god” (142).

Because Katsu’s trip to Settsu was unauthorized, his commissioner places him under house arrest for approximately six months. Not too long after, the commissioner sentences Katsu to another house arrest because of his illegal activities in Yoshiwara. 

Chapter 6 Analysis

The “Life After Retirement” chapter covers approximately five years. Katsu retires at around 37, and his epilogue to this memoir was written at around age 42. Despite his retirement and the passing of the reigns to his teenage son, the author maintains his lifestyle of impropriety. He continues visiting the pleasure district regularly and engages in high-interest money-lending. Indeed, he enjoys his status as a usurer: “They took the time in paying me back, but I didn’t mind, since everyone in Okuyama bowed and scraped as if I were the boss of the neighborhood” (111).

He also exhibits arrogance and enjoys boasting to anyone who will listen. On one occasion, Katsu socializes with an older man from his son’s judo class named Toranosuke Shimada. He brings him to Yoshiwara's red-light district because he wants to impress him with his status:

I thought I would give him an idea of my power and influence in the Yoshiwara and took him on a complete tour. I strutted and swaggered, and when I’d decided that he had been sufficiently awed, I led him to the brothel Sanotsuchiya and asked for the best-looking woman in the house (115).

The author’s inflated sense of self about his perception of doing good deeds is likely why he dedicated a significant part of this chapter to the single incident with his landlord, his accountant, and the visit to the village in Settsu Province to raise money. His focus on his own good deeds is a running theme throughout this memoir. While describing this situation, the author provides ample quotations in which others praised him for his interventions:

‘Master Katsu,’ he said. ‘I know you’ve helped a great many people in the past. Now this comes up—something so big that not even the commissioner and all the relatives put together can handle it. It’s being taken to court tomorrow, and if you merely stand by, all the good you’ve done will have been in vain. Don’t you think you should step forward?’ (124-25)

In many cases, Katsu refuses to help at first but then graciously accepts. He describes each incident by emphasizing the sense of being needed by others to amplify his importance. This self-importance is particularly evident at the Nose Myōken Shrine when the author claims to have a special connection between him and the divine, in this case, Myōken—the deification of the North Star in certain branches of Japanese Buddhism. Having evidently predicted rain in the area, the villagers compliment Katsu for having “truly strange and wondrous powers” (133), validating his self-image. The author is especially pleased with his display of power to the gullible crowd, “I’ve got them now” (134).

Katsu’s most dramatic moment in this autobiography is his attention-seeking threat of carrying out hara-kiri—something he has no intention of actually doing. This practice by the Japanese warrior class involved committing suicide by cutting open one’s abdomen in extreme situations, such as being disgraced. Here, the ritual would have been completed with a beheading. Katsu is well aware of the psychological impact that the thought of witnessing this act would have had on farmers who were not samurai. Having failed at other forms of manipulation to get additional money out of the farmers, Katsu succeeds with his hara-kiri theatrics. This incident also links to his initial hara-kiri attempt at age seven after an unsuccessful neighborhood fight. The young Katsu probably realized that dramatic attention-seeking by using such extreme methods brings about the desired results. Over time, as he grew up, he improved on his manipulation methods through trial and error.

This incident also follows the pattern of mimicking gesaku fiction—a type of narrative structure in which the author engaged before. Here, too, he takes part in adventures and misadventures, narrowly escaping death, as if observing himself as the main protagonist of a novel.

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