transcript

Speaker 1:
[00:01] Tax Act is here any time you want to easily file your taxes. Tax Act is here for the early birds who like to knock them out as soon as the season opens. And for the procrastinators who like to wait until the very last minute. Tax Act is also here for the middlers who file right in the middle of tax season. No one ever talks about the middlers, but Tax Act sees you, and Tax Act respects you. Tax Act, let's get them over with.

Speaker 2:
[00:42] The Mongol Empire is invading our home. They are brutal, relentless, unstoppable. We are 80 samurai against an army, fighting to slow the invasion. Today, I die for my people. There must be thousands of the enemy. We will face death and defend our home. Tradition, courage, honor, they are what make us. We are the warriors of Tsushima. We are samurai.

Speaker 3:
[01:25] Konnichiwa everybody. So that is the opening to the excellent video game Ghost of Tsushima, which was developed by an American company, Sucker Punch Productions for Sony in 2020. And as anyone who's played the game will know, we're in the 13th century in 1274. So the antagonists are the Mongols who are ruling a mighty empire, stretching all the way from the Danube to the peninsula of Korea. And their next target is Japan. And a huge Mongol armada is on the way. And the first stop in its sights is Tsushima, which is the island that lies midway between Korea and Western Japan. And in the game, you are playing as Jin Sakai. So your task is to resist the Mongol assault. And you are a young nobleman of Tsushima. And you've been instructed in the way of the samurai by your uncle Lord Shimura, who is the person speaking in that prologue. And in fact, one of the things you have to do in the game is to slightly ignore Shimura's advice, because you're playing as a ghost, a kind of assassin. Because Shimura says to you at the beginning, Jin, when we fight, we face our enemy head on.

Speaker 2:
[02:40] And when we take their life, we look them in the eye with courage and respect. This is what makes us samurai.

Speaker 3:
[02:47] But whether Jin heeds that advice, whether he goes his own way, is what the game is about, isn't it, Tom? You're such a big video games fan. I'm amazed you started this with such a long discussion about Ghost of Tsushima. I mean, it's an excellent choice. But I'm guessing you've never played it?

Speaker 4:
[03:03] I looked at this on YouTube. I thought it looked quite good, quite exciting. And I wanted to do that partly because the samurai are such a part of video game culture. Am I right in saying that? I think I am. Yeah.

Speaker 3:
[03:17] I mean, there's lots of samurai video games.

Speaker 4:
[03:18] But it's also because that opening that you gave, it's expressive of a very distinctive take, a very distinctive understanding of the samurai. The actual reality, the historical context, what actually happened when the Mongols landed at Tsushima. They then go on to attack mainland Japan. We will be coming to that later in this year. We're not going to be doing that in this series, because in this series, we're going back to look at the beginnings of the samurai, the origins of this extraordinary warrior cast. And it's a story that will be taking us to the heart of medieval Japan. So we'll be going to the 10th, the 11th centuries, when this very distinctive class of warrior starts to emerge on the Japanese archipelago. We'll be looking particularly at the eruption in the late 12th century of this massive civil war between rival samurai clans. And this is a conflict that inspired the great epic of medieval Japan, the kind of the Iliad of Japan, which is a work called The Tale of the Heike. And we will also be exploring the way in which the rise of military rule, the rise of this warrior cast results in the eclipse of the traditional court life focused in Kyoto, the great imperial capital. So it's a series about a cast of warriors who rank, I would say, as perhaps the most glamorous and mythologized warriors of all time.

Speaker 3:
[04:49] Yeah. Let's have our listeners have a vague impression of the samurai. I would imagine they'll imagine the sort of the drawn swords and the tremendous armor and stuff. But I'm guessing a lot of people have only the very flimsiest idea of exactly when they were around and where they came from.

Speaker 4:
[05:06] Right. And I think because they are so mythologized, it's probably worthwhile before we actually start the chronological sweep of this series, go back to the beginnings of how and why the samurai emerge. I think it's worth giving listeners a sense of the broad sweep of their history so that we can put their emergence in an overall context. So as you say, if you shut your eyes, if you imagine a samurai, I think the image is likely to be that of a warrior vaguely situated in the Middle Ages. So actually someone like Jin Sakai in Ghost of Tsushima. But the thing about the samurai, and this is what makes them different, say, from other very mythologized classes of warrior, like Vikings, say, or the Knights of Medieval Christendom. These are medieval warriors who actually outlast the Middle Ages. And I think that this is why in the West, as well as I would guess in Japan, they're aesthetic, the sense of them as having kind of moral codes, their vibe, if you want to put it like that, can actually seem much more attuned to contemporary culture than, say, those of Harold Hardrada, the great Viking warrior or the Black Prince, the flower of medieval chivalry. And I think that this in turn underlies a further paradox about the standing of the Samurai in the imagination, which is that on the one hand, they are indelibly Japanese. They are up there with geisha and with tea ceremonies and sumo and all that kind of thing as absolutely kind of A-list markers of Japanese culture. A samurai is Japan. But at the same time, they have also become global icons. They are objects of a universal fascination. So when you did that opening to The Ghost of Tsushima, your accent was a kind of American-Japanese fusion, which is kind of what the samurai has become.

Speaker 3:
[07:04] Yeah. And there's something also slightly, not exactly timeless, but the samurai have been detached from their epoch so that they can often seen something very science fiction about the samurai. So the samurai's influence on Star Wars, for example, is a case in point, which is something you'll be discussing.

Speaker 4:
[07:17] This is brilliantly illustrated in a show that's on at the British Museum at the moment about the samurai and you walk into this show and the very first exhibit, beautifully lit, is this incredibly eerie suit of armor. So you have a helmet. It's complete with a face mask. It's got a dragon's head over the brows. Coming from the back of the helmet, there are these golden leaves that look very sinister. They're like blades. There's an iron cuirass. There are thigh guards that are laced with silk. There are sleeves and shin guards that are lined with silk. And the various parts of this outfit come from the 16th and 17th centuries. And so this is the look of the samurai on the cusp of the great transformation in Japan's history. And this is its redemption from what had been almost 200 years of internecine civil war fighting between warrior clans that had spanned the whole of the 15th and 16th centuries and is known as the age of the warring states after a similar period of war in Chinese history. And then in 1603, a single warlord finally manages to establish his supremacy over the whole of Japan. He defeats all his kind of the rival warlords. And this is a man called Tokugawa Ieyasu. And he, for those who have seen Shogun, the wonderfully good Disney series set in the year 1600. This is the model for Lord Torinaga, who will likewise in Shogun emerge as the Shogun.

Speaker 3:
[08:52] And the title Shogun. So Shogun is an ancient title, isn't it? Or at least in its full version, it's an ancient title. And it's basically a great general or warlord who subdues barbarians, isn't that right?

Speaker 4:
[09:04] Yes. So it's actually, it's a little bit like Imperator, the word that Scipio Africanus was given. So it's a victorious general who's triumphed over kind of barbarians, as you say. In Japanese, this word Shogun has a very classy pedigree. It goes right the way back to the earliest days of the Japanese state, which is a period when... So the geography of Japan is going to be quite important in this story. So if you think of the main island of Japan, the central island, Honshu, there's a great kind of block of mountains right running through the middle of it. And about 75% of Japan is mountainous. And on the western side of that, it's all civilized. This is where the Japanese imperial state is centred in the early middle ages. And north of this great block of mountains, so in northeastern Honshu, this in the early middle ages is full of what are called by the Japanese barbarians. And so generals get sent from Kyoto, the great imperial court, to go and fight these barbarians in the kind of the northern wilds. And Tokugawa Ieyasu, by taking this title of shogun, is deliberately legitimizing his regime by drawing on these kind of ancient traditions. It's a very familiar story. A radical revolutionary new form of government dignifies and disguises its radicalism beneath a show of tradition. So effectively Tokugawa is now the head of government. He runs the state. But legally, like the generals back in the early middle ages, he is ranking as a servant of the emperor. That is the kind of the legal situation. And the regime that Tokugawa establishes, and which is run by his descendants, endures for two and a half centuries. So right the way up until the middle of the 19th century. And throughout that entire period, Japan remains at peace. So you've had 200 years of kind of savage war, warlords tearing chunks out of each other, and then you have two and a half centuries of stability and order. But the mad thing is, or maybe it's not mad, I mean, maybe it's reflective of the settlement that Tokugawa has arrived at. Throughout this period of peace, the samurai are effectively functioning as bureaucrats, as civilians, but they never give up their military status. The shogunate is always casting itself as a military regime. So the samurai, the warriors, are less than 10% of the population in all, but they rank as the kind of the upper class, the kind of the most prestigious cast, if you want to put it that way, because it's almost impossible to become a samurai except by birth. And even though they are basically spending their time, you know, organizing, I don't know, corvées or roads or whatever, they're functioning as civilians. They are obliged to maintain a kind of nominal state of military readiness. And the grander you are as a samurai, the better your birth, the more you are expected to kind of cosplay as a lord from the era of the warring states.

Speaker 3:
[12:15] So there is an element of dressing up and role playing about this, isn't there? A deliberate, self-conscious role playing almost. Yeah.

Speaker 4:
[12:21] I mean, it's as though in the Victorian house of lords, the lords had to come dressed in armor.

Speaker 3:
[12:27] Yeah.

Speaker 4:
[12:27] It's important to the image of the samurai that they are ready in case a repeat of the Mongol attack happens or something like that.

Speaker 3:
[12:36] Right.

Speaker 4:
[12:36] So samurai lords are brought up to ride a horse, to shoot arrows from horseback. Of course, the swordsmanship, the katana, the famous Japanese sword with its curved blade and the hilt that you hold with two hands and you wear it blade up at the waist. The armor originates in the period of the warring state. So the breastplates, the shin guards, the metal masks, the helmets, and these helmets are adorned with really spectacular markers of identity, crescent moons, wings, animal heads. So this is basically the armor that you see at the opening of the British Museum show. Yeah. As you say, they are playing the part of medieval warriors with all this stuff. And at the same time as they are dressing up in their spectacular helmets and practicing their horsemanship and learning to fire bow and arrow, in the outside world, and particularly the Western world, life goes on. And certainly in Europe, people are pretty oblivious to Japan. And this is because Japan has shut itself off. So there is one isolated factory that is on an island of Nagasaki in the southwest of Japan. And this is run by the Dutch. And the Dutch are the only Europeans who are allowed to have a presence on Japanese soil. So by the 19th century, Europeans have effectively been banned from Japan for over 200 years. And then in 1853, it all changes because a US Commodore called Matthew Perry sails into what would come to be called Tokyo Bay at the head of four menacing ships as it seems to the Japanese, four black ships they're called.

Speaker 3:
[14:27] Yeah, the black ships.

Speaker 4:
[14:29] And the Americans, they've got their guns and their cannon and everything. So they are able to force a hearing from the Shogunate, and they land in Edo as it's called, the great city. And they find something that seems to them completely wild, which is this fantastical land where history seems to have been put on hold. It seems like the Middle Ages are still kind of running. I mean, this isn't entirely the case. So it's often said that the Shogunate banned firearms, for instance. This isn't true. What they do is to regulate the use of firearms very, very strictly. So it often seemed to European visitors that they weren't firearms. They were. But it's undoubtedly the case that Japan compared, say, to the industrializing states of Europe or the United States in the middle of the 19th century. I mean, it does seem really, really weird. This land ruled by a kind of medieval order of warriors in the age of the steam train and the telegraph and battleships and all of that. But now that Commodore Perry has arrived in Tokyo Bay and kind of opened Japan up to the world, this is very bad news for the rule of the samurai because they're going to force Japan to open up. And this is not good news for, you know, ancient medieval warriors.

Speaker 3:
[15:51] And there's a good, there's a nice book on people who are interested, a sort of short history of Japan by Christopher Harding, isn't it? He's been on the show during the World Cup. And he has a story about a load of samurai are going to America, which perfectly captures the kind of culture clash, doesn't it? It's 1860.

Speaker 4:
[16:07] Yeah. So it's the first embassy that goes from Japan to a Western country. And it's taken on an American ship across the Pacific. They land in San Francisco and they find everything about America bewildering. So there's a tremendous account of the samurai having their first American food. And it's like a Frenchman arriving in England. So the head of the samurai says that the hardship cannot adequately be described by pain. I imagine all these kind of burgers and stuff.

Speaker 3:
[16:36] That terrible bacon the Americans have.

Speaker 4:
[16:39] And the cheese.

Speaker 3:
[16:39] The cheese, mad cheese. Like when you've got so many agricultural resources, why would your cheese be so pitiful? And don't text us about Wisconsin cheddar, because you just barely can get that.

Speaker 4:
[16:49] An enduring mystery, which the samurai puzzled over as well. And then they get on a train and they cross the United States and they arrive in the American capital and they're told about George Washington, first American president, and they're completely bewildered that the heirs of Washington are not in power. So in Japan, obviously, the descendants of Tokugawa are still in power. So why aren't the heirs of George Washington? Why aren't they president? And as for the US Army, the samurai are bewildered because the US Army recruits people. So people in America are hired, not born to fight. And this seems to the samurai very, very poor, very, very shameful. But of course, the attitudes that the samurai have, these medieval attitudes, if you want to frame it like that, the 19th century is coming very, very hard for them. So in the early 1860s, the Shogunate tries to fight back. They try and assert their dignity in the face of the American intrusion. I suppose a bit like the Aztecs or the Incas trying to assert their dignity in the face of the Spanish. And as in South America in the 16th century, so in Japan in the 19th century, the samurai are repeatedly humiliated. And of course, for a military caste to be publicly humiliated is terrible for its standing and its prestige. So in 1866, samurai from the south of Japan repudiate the authority of the shogunate, of the Tokugawa clan. And they demand the restoration of full sovereignty to the emperor. They want the emperor to step up to the plate and stop being a kind of cipher. And the following year, the reigning shogun resigns. And then in January 1868, in the Imperial Palace in Kyoto, the ancient capital, the restoration of rule by the emperor is officially proclaimed. So, the house of Takagawa at last, after 250 years, has fallen. But with the fall of the Takagawa, you also have the fall of the samurai.

Speaker 3:
[18:50] So that's the Meiji restoration, isn't it? Which is seen as the sort of the transformative moment in the history of modern Japan, because it's the moment that Japan, you know, it doesn't renounce the past, but it renounces maybe to some degree the cult of the stultifying cult of the past and throws itself into the pursuit of modernity.

Speaker 4:
[19:09] Yeah, so there's a manifesto pledge is proclaimed in the Imperial Palace in April, 1868, and it goes, evil customs of the past shall be broken off and everything based upon the just laws of nature. And actually what this means in practice, it is a kind of headlong rush to modernize. And the faster that Japan starts to westernize, obviously, the more anachronistic this kind of hereditary cast of warriors comes to seem. And of course, Japan modernizes incredibly effectively. I mean, more effectively probably than any other country that comes into contact with the industrial west. And by the end of 1876, pretty much everything that had made the samurai distinctive for centuries and centuries and centuries has gone. So their elevated kind of position in a formal hierarchy, you know, they're standing as the top cast is abolished, the stipends they've been receiving from the government that they've gone, their monopoly on military service, that's gone. Anyone now can join the armed services, the right to wear a sword in public, the katana, that's gone as well. And even their distinctive hairstyle, which anyone who has seen Shogun will immediately recognize, kind of the shaved front with a top knot, that's gone as well. So it's not just the Tokugawa Shogunate that's been abolished. So too has this entire tradition of military rule in Japan that as we will find out, stretches way, way, way back into the Middle Ages.

Speaker 3:
[20:37] I mean, obviously, there are people in Japan who are very sad, I suppose, who mourn the death of tradition that comes with the Meiji Restoration. And oddly, Westerners have very ambiguous attitude too, because on the one hand, people who like Japanese culture love it as a kind of crucible of modernity. But we are constantly fascinated by the tradition and the reverence for the past and all of that kind of thing, which is why when you go to Japan, as I mean, we've both done, the samurai are everywhere. Katanas are everywhere. I mean, I have to say, Sandbrook Jr. returned with an excellent sword and all kinds of samurai gear from Japan.

Speaker 4:
[21:14] There are definitely people in the West who mourn the collapse of the samurai, even though of course, you know, it's the West that has precipitated their downfall. And I think what they particularly admire and regret is a kind of ascetic. It's the look that the samurai have. And so, for instance, you know, these suits of armour that will be familiar in the West that you get in museums, say, British Museum or wherever. These are sold by ex-samurai because every samurai had to have a suit of armour. They don't need them anymore. They're a bit short of money. Now they're not getting their stipends. So they flog them off. And so they go around the world and they kind of broadcast the look of the samurai across the West. And helmets in particular become kind of icons of what in France is known as Japanese, but it's kind of the craze for Japanese art, Japanese fashion, Japanese vibes that completely sweeps Western Europe in the 19th century and that they remain absolutely iconic to this day. And they're instant signifiers of medieval Japan, even though often, of course, they come from the 16th or 17th centuries. And you talked about a very, very celebrated marker of that influence, which endures into the present day. And it's there in the British Museum show because you begin with this stunning suit of armor, which I described. You go around the show and then at the end, you have an outfit that deliberately echoed the suit of armor that you got at the beginning. And this is the costume worn by Darth Vader. And George Lucas' suggestion to the costume designer when they were prepping for Star Wars, he said, what's some kind of big helmet like a Japanese warrior? And it's not a precise instruction, but everyone immediately, you know, you immediately know what that signifies. The designer obviously knew.

Speaker 3:
[23:03] And that's partly because Star Wars is based on Kurosawa films. The Kurosawa films are the model for Star Wars in some ways. The hidden fortress, I believe.

Speaker 4:
[23:12] Yes, absolutely. Because it's not just the look of the samurai that people feel in the West, feel that they know. It's also something more than that. It's this idea of there being a code of the samurai, which, you know, in Star Wars becomes the kind of the Jedi and all that kind of stuff. And this code is, it's given the name of Bushido, Bushi is warrior, so the way of the warrior. And I had always assumed, I would imagine that most people listening to this show would assume that this was a kind of authentic code going right the way back to the beginnings of the samurai. So it's there in, in, in, in goes to Tsushima, for instance, you know, this is the way of the samurai. And obviously it's there in, in, in Star Wars. So Yoda is very Bushido, this, you know, this great teacher passing on the way of the warrior. And George Lucas, when he was picking up on this idea of Bushido as a kind of model for the Jedi in Star Wars, he was part of a kind of a continuum which reached back decades. So in 1908, this is what Baden-Powell, the founder of the Boy Scouts had to say about Bushido. He's writing in, in Scouting for Boys, the Japanese have their Bushido or laws of the old Samurai warriors just as we have chivalry or rules of the Knights of the Middle Ages. And Baden-Powell is not wrong to recognize something of chivalry, you know, the medieval code from Latin Christendom in Bushido. Because actually that was one of the ingredients of Bushido. Because actually, far from drawing on a moral code that reached back to the Middle Ages, Bushido was pretty much a modern invention, a post-Meiji restoration invention, and it was a fusion of authentic Japanese traditions that was seasoned by admiration, I'm very proud to say, for the model of the English gentleman. So there's a little bit of the English gentleman in Bushido and also the chivalric traditions of Europe, because the Japanese looked at these traditions and said, oh, we'll feed them in and try and make something that's simultaneously Japanese and Western.

Speaker 3:
[25:23] So you're saying the cult of the Samurai is to some extent a modern invention informed by English gentleman of the late 19th century. That would be immensely pleasing if it were true.

Speaker 4:
[25:34] Yes, obviously, most of it comes from authentic Japanese traditions, but there is a seasoning of the English gentleman and there is definitely a touch of the kind of the medieval knight and it kind of bubbles up in the late 19th century into the 20th century. And then in the 20th century, it becomes one of the great cultural influences, of course, on Japanese culture, but also on global culture. So in the early decades of the 20th century, it's appropriated by the Japanese military and perverted to their own uses and it takes Japan to some really very dark places because Bushido becomes a kind of ideological justification for what the Japanese army is doing in Korea, in China, in the Second World War. And when the Americans occupy Japan, they feel that much of what Japan had done, the war crimes and so on, is to be blamed on this notion of Bushido, which they see as a kind of ancient expression of Japanese militarism. And so they ban it and they come down hard on cultural representations of samurai. And when the American occupation ends, the Japanese are ready to kind of re-appropriate this tradition. So the idea of Bushido, as it turns out, has been perfect for Japanese military before the war, and it proves perfect for the Japanese entertainment industry after the war. So it helps the samurai to become kind of a great theme in Japanese film, TV, manga. And sometimes the samurai are portrayed as kind of role models, models of courage and loyalty and honor. And the code of the samurai is taken seriously. But sometimes they are more morally complex, more ambivalent figures. And this also has become part of what has made the samurai Japan's great cultural export throughout the 20th century and into the 21st century. So we've talked about how it's there in Ghost of Tsushima and Star Wars, but it's also the morally ambivalent model of the samurai. It's there in Spaghetti Westerns. It's there in the films of Quentin Tarantino. He loves a katana. Yeah. And people are interested in this. We will be exploring it further. We'll be looking at Star Wars, Spaghetti Westerns and so on. In a special bonus with Oleg Benesh, who wrote a fabulous book, Inventing the Way of the Samurai, which very much does what it says on the tin. It's kind of the definitive study of Meshido as an invented tradition.

Speaker 3:
[28:05] But just because Samurai are mythologized, just because they feature in all kinds of popular culture and one, it doesn't mean that there's not a historical reality behind it. And let's get back to the historical reality. So they definitely are Samurai in the distant medieval past, and they do endure for hundreds of years, and they do have amazing armor and swords, and they've got their traditions and they've got their code and all that, right?

Speaker 4:
[28:27] There isn't a code of the Samurai, which is kind of followed for centuries and centuries and centuries, but they do have moral codes, they do have traditions, they do act in obedience to very demanding ideals of shame and honor. And I think above all, and maybe this is the key to understanding why they have been figures of such enduring glamour for so long throughout Japanese history and then more recently into global history, is the fact that right from the very beginning, the Samurai were masterly at the art of creating their own myths. And this was a very urgent task for them. And this is because unlike, say, in the Frankish worlds in Medieval Europe or the Viking worlds, warriors in Medieval Japan initially did not stand at the apex of society. They are outsiders. They're out in the provinces, in the wilds. And the aristocrats who are at the centre in the imperial court look down on them. They regard them with contempt. And the word for warrior bushy, it's a bit of a dirty word. And the word samurai is even more so. It's even more low-rent because literally a samurai does not mean a warrior. It means a vassal, a subordinate, a person who is in service to a great lord. And so it's not enough for the samurai. Maybe we're talking about the rise of the samurai. They're upwardly mobile. That's not enough because they are parvenus. And like parvenus throughout history, they have to cope with the snobbery of those whom they are displacing. And so they can do this partly by kind of affecting the manners of the court by behaving as courtiers do. But I think it's more satisfying for all them in the long run to start establishing their own standards, their own morals, their own myths. And so this over the course of the Middle Ages is what they came to do. And it's these myths which do originate in the Middle Ages which touched the samurai class with this incredible glamour which is there to the present day and which fascinates people in the West as much as in Japan. And so to trace the way in which this myth evolves, we need to go back and look at the reality right at the beginning and ask, who are the first samurai? How on earth had the Japanese court managed to survive for so long without having a cast of warriors? I mean, it's very unusual if you think about Europe in the Middle Ages. It's odd for us, I think, to imagine that the ruling class weren't warriors at all, despised warriors. And then what happens to make that change? How is it that the court collapses and this class of warriors emerges?

Speaker 3:
[31:23] Right. So we should be asking and answering those questions. And we should be heading to Kyoto in the year 940. And we'll be kicking off with the display of a particularly gruesome and implausibly talkative trophy. And we'll be doing all that after the break.

Speaker 5:
[31:43] Protein is now at Starbucks, and it's never tasted so good. You can add protein cold foam to your favorite drink or try one of our new protein lattes or matcha. Try it today at Starbucks.

Speaker 6:
[31:58] K-pop demon hunters Saja Boys' breakfast meal and Huntrix meal have just dropped at McDonald's. They're calling this a battle for the fans. What do you say to that, Rumi?

Speaker 7:
[32:07] It's not a battle. So glad the Saja Boys could take breakfast and give our meal the rest of the day.

Speaker 8:
[32:12] It is an honor to share.

Speaker 6:
[32:14] No, it's our honor.

Speaker 8:
[32:15] It is our larger honor.

Speaker 6:
[32:17] No, really, stop. You can really feel the respect in this battle. Pick a meal to pick a side. Ba-da-ba-ba-ba.

Speaker 5:
[32:26] I participate in McDonald's while supplies last.

Speaker 9:
[32:28] So you're saying with Hilton Honors, I can use points for a free night's stay anywhere?

Speaker 8:
[32:33] Anywhere.

Speaker 9:
[32:34] What about fancy places like the Canopy in Paris? Yeah, Hilton Honors, baby. Or relaxing sanctuaries, like the Conrad and Tulum?

Speaker 5:
[32:41] Hilton Honors, baby.

Speaker 9:
[32:43] What about the five-star Waldorf Astoria in the Maldives? Are you gonna do this for all 9,000 properties?

Speaker 8:
[32:50] When you want points that can take you anywhere, anytime, it matters where you stay. Hilton, for the stay. Book your spring break now.

Speaker 3:
[33:03] Welcome back to The Rest Is History. We are at the beginning of April 940, and we're in the Imperial capital of Japan, Heian-kyo, the city of peace and tranquility, known today as Kyoto. And a load of horsemen have just ridden from Kanto, which is the great plain on which Tokyo, modern day Tokyo, stands. They have crossed the mountains, and they have brought with them a gift for the emperor. Tom, what's the gift?

Speaker 4:
[33:31] Well, the gift is the severed head of the most notorious warlord in Japan, and this warlord is called Taira no Masakado, and he is a remarkable man, of whom remarkable things are reported. So first of all, he's an absolute unit. He is seven foot tall, and the Japanese are not a tall people, so he really stands out. In his left eye, he has two pupils, which again, unusual.

Speaker 3:
[34:02] That is unusual, indeed unheard of.

Speaker 4:
[34:04] But perhaps the most striking thing about him is he is completely invulnerable to weapons, and this is thanks to his mother, who was a giant snake, and I gather it's the custom for giant snakes to lick their offspring. And so his mother, the giant snake, had licked Masakado all over, with the exception of his forehead, and her saliva had the magical power of making him invulnerable to weapons. So there's a slight hint there of Achilles.

Speaker 3:
[34:31] Two pupils, that's weird. Anyway, what happens to the head? What do they do with it?

Speaker 4:
[34:35] So the head is exhibited in the marketplace of Kyoto. So there's a spike, they put the head on the spike and they lift the pole up so that the head is gazing out over the marketplace. And the moment the pole has been levered into position, the eye is open, complete with the left eye with its two pupils, and they glare around angrily, and the head demands to know where the rest of the body is. So very annoyed that the body parts have gone missing. And it stays there for several months, and all this time it doesn't rot in the slightest. It's silent for periods, and then it has another massive rant demanding its legs back and its arms and so on. And then after several months, it suddenly starts to glow, and then it shoots up off the spike, and it goes bombing off across Kyoto in search of its decapitated corpse. And it heads eastwards across this great mountain range, which separates Kyoto from Kanto, which is the great plain to the east. And as it's flying over Kanto, this head is brought down either because it gets shot down by a god, that's according to one account, or because it crash lands for reasons that aren't explained. But whatever, the head crash lands and locals go and pick it up and they wash it and they bury it and they raise a mound over it. And of course, this is regarded as a very sacred place. And people go to Tokyo today, you can still see it, this mound, the tomb of Mascardo's head, because it stands right in the middle of Tokyo's business district, among the most valuable real estate in the entire world. So you would think, well, surely, this has been clear, surely they built some skyscraper or something. But they haven't, because every attempt to build on it has resulted in disaster. So they might lift up a crane and the crane comes crashing down, or the head of the company that is trying to develop it kind of gets run over by a car or something. And so the Japanese in Tokyo have drawn the lesson that you shouldn't try and erase the last resting place of Mascardo's head. And so his tomb stands there to this day, this is because he's the first Samurai, right?

Speaker 3:
[36:47] So you can't mess with the first Samurai. And he's the guy who he's the founding father of this tradition that we're talking about in this series.

Speaker 4:
[36:53] Correct. So Mascardo is essentially he's kind of fated as the first Samurai. And that is absolutely why he why he has this kind of resonance, his mythic status. So obviously there's there's quite a lot to pick here. So again, because geography is really important in the story, let's just look at how the geography of Japan maps onto the kind of the politics of the empire in the mid 10th century. Because this is essentially what the story is illustrating, the political geography of Japan. So Mascardo's head has been brought from the plain of Kanto, which literally means east of the kind of the mountain range, east of the barrier. It's been brought to Kyoto because Kyoto is, it's not just the great center of power, it's the only center of power in the Japanese archipelago in this period. It has been founded in 794. It's the seat of the Japanese emperor. The emperor rules as a lineal descendant of the sun goddess, and then a succession of 15 emperors who between them were supposed to have ruled for centuries and centuries and centuries. So they're a bit like the biblical prophets. They have improbable lifespans. That's the story that's told. The reality is rather different. What becomes the Japanese imperial dynasty had originally been just one of a number of competing aristocratic families, and it's only at the end of the seventh century that it succeeds in establishing its overall supremacy and with it its imperial status. Then having established the supremacy, of course, it faces the challenge of maintaining it. How are they going to do that? Initially, they do this in a classic way by establishing a monopoly of violence. That's what imperial regimes invariably do. The emperor requires all the other lords to hand over their military equipment, their crossbows and so on, and these are confiscated and put in regional depots that are dotted around the empire, so that they can be drawn on in case of emergency. This is a period when the Japanese are sedulously imitating China, which is the great model for them, and in China, the army consists of a great mass of conscripted peasants, and so the Japanese emperor does the same. This is going to provide him with his manpower, but it doesn't really work in the Japanese context, and that's partly because there are far fewer peasants in Japan than there are in China, so peasants don't really provide the emperor with the kind of military mass that he needs. It's also because there is a massive fiscal crisis, and it becomes too expensive for the emperor to run his own army. And also, peasants just make terrible soldiers, they're hopeless, they're always kind of running away and stuff.

Speaker 3:
[39:48] But just what do they need the soldiers for? Because who are they fighting? They're not going to be attacked by external enemies, are they China, Korea or whoever? So what do they, is it internal threats?

Speaker 4:
[39:58] By this point, the southwestern half of Japan has basically been pacified. So that would include Kushu, which is the kind of southwestern island, and then you have the main island Honshu up to this kind of great range of mountains east of Kyoto. All of these have been pacified. And so you don't really need an army in that kind of southwestern half of Japan, because effectively it's fine to have civilian government there. And all the regional aristocracy by now are obsessed by hanging out in Kyoto, in this great capital, and they go there and they kind of write poetry, and they practice calligraphy, and they mix incense. And this is how you prove your status, not by going out and fighting. And actually, it's quite like Versailles in the 18th century. Lords do not want to stay in the provinces. They want to go to the court, they want to show off there, they want to adopt the arts of peace. And so warriors, you know, as the centuries pass, come to seem to the court. You know, they're uncouth, they're murderous, they're basically, they're scum. They're kind of literally described as dogs. War has become something that is vulgar. It's become something de classe. It's something that no one with any standing or status would dream of doing.

Speaker 3:
[41:13] And yet you might say that any regime that has a contempt or disregard for military muscle is living on borrowed time, because that's what power is all about. So presumably they don't ignore military muscle completely.

Speaker 4:
[41:25] Well, no, because we've said the northeastern reaches of Honshu, this main island of Japan, that remains un-pacified. And so the provinces beyond the mountains east of Kyoto have this kind of real marcher feel. You know, they are kind of frontier zone. And here the Imperial government has no option but to reverse its previous policy and to encourage the governors, the lords who live in these northeastern provinces to levy their own troops because they need them to keep order there. And so who are these troops? Well, these lords are still kind of emulating the Chinese model and recruiting peasants who serve them as infantry. But there's the same problem. The peasants are rubbish. They're always running away and throwing away their weapons and things. And so the key figures, the key players, as in medieval Europe are horsemen. And these are called suwamono. And these are warriors who were trained from childhood to shoot arrows from the saddle. So in that sense, they are like the kind of the classical horsemen of the steps, you know, the Mongols included. And the great obsession of these horsemen in northeastern Japan is honor, and the great fear is disgrace, which isn't to say that they're not also very, very obsessed by financial rewards and other rewards as well, because they are. And it's this kind of fusion of obsessional interest in their own honor and an obsessional interest in getting on in life that makes them, you know, if you want a samurai code, that is the samurai code. They are called samurai because they are the retainers who are recruited by the local lords to serve him as his muscle, you know, as his kind of backup.

Speaker 3:
[43:10] You might say so as a layman, I might say that's very risky because basically if local magnates are recruiting their own troops to fight off, you know, the barbarians or whatever, then the lesson of late Roman history is when there are, you know, it won't be long before one of them declares himself emperor and marches on the capital. No?

Speaker 4:
[43:33] In the long run, as we will see, you are not wrong, and this is obviously going to be a problem, but not immediately. And this is for various reasons. And the first is that these provincial governors to the northeast of the great mountain range that separates Kyoto from the northeast of Honshu, they all hate each other.

Speaker 3:
[43:51] Right.

Speaker 4:
[43:52] So it's very, very unlikely that they're going to gang up and kind of march on Kyoto. And if there is a rebellion, then it's very easy for the imperial government to find someone on the scene who's going to crush it, because Kyoto is the source of all patronage. And so all you have to do is say, well, you know, I'll send you a nice calligraphy kit, go and beat up this guy and the guy will do it. And again, there's this whole Versailles thing, because even provincial governors out in the sticks, you know, they buy into the notion of what is fashionable, of what gives them status, which is the kind of the ideals of a centralized court running everything. And Kyoto provides the only standard by which even people out in, you know, the northeast of Honshu want to be judged. And it's the only source of the lifestyle that ultimately matters, the lifestyle that gives you status. And Carl Friday, great scholar of early medieval Japan, he compares these governors, these warlords in the northeast of Honshu with CEOs today, and so to quote Friday, who tend to identify more closely with CEOs in other lines of business than with the workers, engineers, or middle managers in their own. So it's like, you know, tech CEOs, industrial CEOs, financial CEOs going to Davos, they have more in common with each other than they do with the kind of the minions far below them in their kind of various corporate structures. So in other words, you know, in the Japanese context, just because you employ mercenaries, doesn't mean that you want to be mercenary yourself. You know, you want to keep them at a kind of distance.

Speaker 3:
[45:28] And they are related to the emperors by and large, aren't they? They're from the imperial family, most of these governors.

Speaker 4:
[45:33] Yeah, so that's a third factor that is kind of reigning in displays of military braggartatio that are not sanctioned by the court. So regular listeners to The Rest Is History may recall that this is not the first series that we've done on Imperial Japan, because last year we did a couple of episodes on the great female writers at the Imperial Japanese Court around the year 1000. The first of these episodes was on The Tale of Genji, which is an enormous 1100-page novel written around the year 1000 by Shikibu Lady Murasaki and set in the Imperial Court. The hero of that novel was the son of an emperor by one of his concubines. Because he's the son of a concubine, he has no prospect of inheriting the throne. So his father, the emperor, is keen for this boy, who he recognizes as being very talented, to have a career of public service rather than hanging around in the palace being a drone doing nothing. He takes this very drastic step. He removes the boy from the Imperial family by giving him what no emperor ever has, namely a surname. So this young prince is not being disgraced. It's not because he's misbehaved. It's actually the opposite. It's because his father recognizes in him great talents and doesn't want them to atrophy, doesn't want them to go to waste. He wants this boy to go out and make something of his life. And so as you said, the surname this boy is given is Genji. And as a Genji, he belongs to two realms. He belongs to the realm of his father, the realm of the Imperial family, but also the realm of the nobility of the great kind of public figures who serve the palace. And Lady Murasaki, when she was writing The Tale of Genji in the year 1000, was writing it as a historical novel. So she is casting Genji, her hero, as the first prince to be de-prince, if you like, to lose his kind of princely standing. But as she well knew, Genji was not the only one because this is a process that carries on throughout the 10th century. And this is because emperors in Kyoto have multitudes of wives and concubines. And as a result, they have kind of vast progenies. And even by the 9th century, there are simply too many princes in the imperial system to handle. So even with our own beloved royal family, this is an issue. You accumulate princely clutter and you have to get rid of them.

Speaker 3:
[48:12] I mean, we've discovered that two is too many, basically.

Speaker 4:
[48:14] Basically, pretty much. And in Kyoto, in the 9th and 10th century, this is even more of a problem. And these princes clutter up the place and they're very expensive. So you've got to get rid of them. And so the solution is to cut them loose from the imperial family by giving them this special surname. And one of these, as in Lady Murasaki's novel, is Genji, or as the clan name is more generally known, Minamoto, which means origin. So Genji and Minamoto are basically the same word. The other dynasty is the Heike, or as it's more generally known, the Tyre, which means peace. So by the 10th century, these two clans of ex-princes, the Minamoto and the Tyre, have emerged to become two of the greatest dynasties in the empire. And the field of their operations tends to lie in the provinces and particularly the northeastern provinces in Kanto and beyond Kanto. And here they are very, very glamorous figures because they come trailing clouds of imperial glamour and they bring with them all kinds of benefits that people out in the wilds can immediately want. So they can offer kind of high-ranking governorships and military commands. They can offer the local aristocracy's marriage into what is a kind of, you know, it gives them a kind of imperial link. And so lots of these regional dynasties are very, very happy to take on the name of Minamoto or Tyre because they're much more glamorous than their own. And so the Minamoto and the Tyre become larger and larger as kind of dynastic organizations. And they provide people out in the provinces with this sense that they have a real kind of a very glamorous link to what is going on in Kyoto, what is going on in the capital. So all of this is looking great. It's all seems fine. It's all taking along. But as you as you imply Dominic, there is a kind of potential problem here because what if a Minamoto or a Taira out in the provinces should start to feel that his nose is being put out of joint, perhaps by the court in Kyoto, perhaps by another member of his clan, perhaps by both. They have warriors at their back. What is to stop them going a little bit rogue? And this in the 930s is precisely how Taira no Masakado. So he is the first samurai, the guy whose head goes flying off after it's been decapitated. This is how he comes to feel.

Speaker 3:
[50:53] Because he is a Taira, right? He's from the Taira clan.

Speaker 4:
[50:56] Yes, he is. And so he is of imperial descent. But he is very bitterly conscious of being kind of downwardly mobile. Things are not going well for him. So he had been born in the northern reaches of Kanto, this kind of great plain beyond the mountains that separate it from Kyoto. And he has grown up a very formidable warrior. And as we said, he's absolutely, absolute unit, absolutely huge. He's got his two eyeballs in his left eye. And he has made himself a master of what is described by the samurai as the way of the bow and the horse. In other words, he's a great horseman and he can fire a bow sitting in the saddle. It's not enough for Minamoto just to be a warrior, because that would mean that he really has kind of gone down. Socially, he's kind of lost his status.

Speaker 3:
[51:43] He wants to be doing his calligraphy and his poetry and stuff as well, doesn't he?

Speaker 4:
[51:47] Kind of. I think by this point, I think he's less interested in that, but he wants the kind of the stamp of authority and glamour that only the Imperial Court ultimately can provide. And so he applies for a government post, a post that will say to everyone around him, yes, I have Imperial favor, and he gets turned down. And then he is snubbed by his own uncle, a guy called Tyra Yoshikane. And what Masakado has done is to ask Yoshikane, his uncle, for his daughter, so his cousin, to be his wife. And Yoshikane says, no, I'm not interested in you. You're just a samurai. You know, you don't really rank as a member of my family anymore. And Masakado is incredibly insulted by this and goes absolutely berserk. So one minute he is quarreling with Yoshikane about his wedding plan, saying that he would, you know, demanding to marry his cousin. And the next, he's been refused by Yoshikane, goes completely ballistic and starts torching entire villages simply because these villages are dependencies of one of Yoshikane's allies. And we have a near contemporaneous account. So, this isn't kind of written up decades later. This is kind of from around the time. That day the voice of the flames contended with the thunder as it echoed, that hour the color of the smoke battled with the clouds as it covered the sky. People's homes were turned to ashes and scattered before the winds. Provincial officials and peasants alike beheld it all in anguish. And so, Yoshikane obviously is infuriated by this, I mean, insulted. You know, he has to have vengeance and so he raises an enormous army, which Masakado at the head of only 100 horsemen spectacularly routes. It's an incredible victory, tribute to Masakado's charisma and to his mastery of the arts of warfare. And so now things really are kicking off. Masakado has taken his cousin, married her. Yoshikane kidnaps her back. According to the kind of the romantic version of this story, Masakado then sneaks behind enemy lines to meet her and does so with the connivance of his wife's brothers, so his, also his cousins. So there's a sense there of a kind of, you know, real kind of dynastic, snarl romance and hatreds and rivalries and all of that. And this is intensified by the fact that Masakado's cousin, a very sinister man called Sadamori, has signed up to Masakado's side and then promptly stabbed him in the back, betrayed him, acted as the agent of Yoshikane. And even worse, Sadamori then rushes off to Kyoto basically to tell tales on Masakado. And as a reward for this, Sadamori is given the northern command that had been held by Masakado's father and which Masakado himself obviously had been hoping to get. So again, it's an incredible insult to Masakado and makes him even more determined to have his vengeance. And this is a very fateful step because essentially what had begun as a kind of family feud is now starting to embroil the whole of Japan.

Speaker 3:
[54:57] Masakado goes even further, doesn't he? He doubles down because this is the point at which he can basically keep gambling or stop and he decides to keep gambling and he makes an extraordinary decision that he is going to declare himself emperor. So this basically takes us to that point I made earlier about, you know, why isn't it like the late Roman Empire where provincial governors are declaring themselves emperor? Well now it is because this is what he's done.

Speaker 4:
[55:21] I mean, he doesn't declare himself the emperor of Kyoto, so the southwestern half of Japan. He's specifically of Kanto, which is this kind of this great plain. And Masakado is the first and he will not be the last to recognize that Kanto is actually a much larger lowland region than Kansai, which is the plain on which Kyoto stands. And just to emphasize, Japan is three quarters mountain. So wherever the planes are absolutely crucial, if you control a large fertile plain, then you're really motoring. And because Kanto is larger than Kansai, the plain on which Kyoto stands, then it means that potentially Kanto is a much richer and more powerful region. And even though Kyoto will remain the official capital of Japan for another 1000 years, in the long run, it is Masakado who will enjoy the last laugh, because today, it's not Kansai, but Kanto, which boasts Japan's, and indeed perhaps the world's, larger city. And that is the city that comes to be known as Tokyo, the eastern capital. So Masakado, by declaring himself the emperor of Kanto, he is kind of looking to the future, but it is a very distant future.

Speaker 3:
[56:41] Yeah, not his own future, unfortunately, for him.

Speaker 4:
[56:43] No, because by doing this, by declaring himself emperor of Kanto, effectively he signed his own death warrant, because the imperial authorities are not going to recognize his rule. It's just unthinkable. And so what they do is the classic course, they employ rival lords to bring Masakado down. And these rival lords who include Sadamori, his cousin, are sponsored to turn on Masakado, and they're given funds that enable them to fight through the winter. And this is something that Masakado doesn't have. And so he is unable to sustain his own forces through the off season. And he's cornered, he's shot through the forehead, which is the one bit that his mother, the giant snake, hadn't been able to lick. So it splits his skull. And then he is decapitated. And his head, of course, is then brought to Kyoto, put on the marketplace, and it probably doesn't go flying off. His fate does serve the lords of Japan and the samurai class more generally as a salutary warning. And so his career, to that extent, it's the exception that proves the rule. And several decades after the death of Masakado of the year 1000, this is the period when Lady Murasaki is writing The Tale of Genji. So it's 1,100 pages long, and warfare in it is barely mentioned, and it never intrudes directly.

Speaker 3:
[58:09] It's the same with The Pillow Book, isn't it? That we also did. Shaye Shonigan's book. I mean, there's basically no fighting, no hint of battles, no sense of disorder out there. And everything is incredibly ordered and perfect and elegant and all of this kind of thing. And when we did that series on those two writers, we talked about how extraordinary this is in the context of what's going on in Western Europe in the same period. You know, it's Vikings, it's Aether Aethen ready, it's massacres, it's people, bishops being hit over the head with hammers. It's just completely different.

Speaker 4:
[58:42] Yeah. Whereas in the Tale of Genji, it's not just that people aren't talking about war. They're not even talking about warriors. There are no warriors. They just don't feature. For people living in the court, this is, you know, a kind of paradisal age of peace and tranquility. And they are so secluded from the violence and the vulgarity of the provinces that they can enjoy the fruits of this brilliant civilization without having to worry about war. It's a world of beauty, of poetry, of love, of exquisite calligraphy, beautiful perfumes. You know, if you're into that kind of thing, it's tremendous. However, you know, history does not come to an end. We see that for ourselves. And so it is for the courtiers in Heian-Kyō in Kyoto, because beyond the mountains which ring the capital, the samurai are still very much there. And they are still learning the way of the bow and the horse, and they're still being hired by governors of distant provinces as private mercenaries and being enrolled as their own retainers as samurai, and still very much on the scene. And in fact, more powerful, more ambitious, more restless than ever are these two great dynasties derived from the Imperial House, the Tyra and the Minamoto. And Dominic, it may not have been evident to the Silcan aristocrats cloistered in Kyoto, but the storm clouds of war were building. And the war that will come, this is a war that is going to end forever the dominance of the Imperial Court and establish in its place a dramatically new order. Because the age of the courtier is coming to an end, the age of the samurai is dawning.

Speaker 3:
[60:48] What a cliffhanger. So we will be returning to this brewing rivalry between the Tyre and the Minamoto in the next episode in which the age of the samurai dawns in earnest. Now if you want to hear that next episode literally right now, you can if you are a member of the Rest Is History Club because you have got it already. In fact, you don't just have to listen to that episode. The next two episodes in this series are available to members of the Rest Is History Club as well. If you want to join that particular Samurai warband and hear those episodes, then head to therestishistory.com and you get all kinds of unbelievable benefits as well, including our exciting Super Soar Away newsletters, which has all kinds of extra content about the samurai and their age. So on that bombshell, Tom, arigatou gozaimasu and sayonara everybody, matane.