When an attacker is on the prowl, a ninja assassin won’t be there to save you. Sometimes your only weapon is your own body and Israelis have transformed the body into a lethal weapon.

Krav Maga, Hebrew for “contact combat,” teaches citizens to defend themselves against real-life assault and rape scenarios. This style of self defense equips the body and mind with tactics that inflict pain upon the attacker and allows the victim to escape with their life. Las Vegans can train at two facilities Monday through Saturday, one located at 7035 W. Sahara Ave. Suite 500 and the other at 9310 S. Eastern Suite 123.

Chief Instructor Donavin Britt has been teaching Krav Maga for over five years, having learned his skills from the Israeli military through his servitude with the U.S. Army’s

Chief Instructor Donavin Britt & Instructor Heather Mongie demonstrate eye-gouging

Psychological Operations team. Britt, along with a team of trainers, teaches students how to use the human body as a defense mechanism against physical attacks.

“At this school, we encourage the student to become proficient with empty-hand, knife, stick, and various guns,” Britt said. “We tailor the system to the student, not the student to the system. That’s a huge factor.”

Anyone of able body can train. Students of every age, shape, and size are taught to use their physical attributes to the best of their ability to fend off a foe. Britt and team utilize tactical advantage by implementing skills into the students that will be retained by muscle memory and introducing teachers who are well-versed in their respective fields.

“We bring in people who are in-country, experienced, who have led teams, who have actually cleared buildings, because the students need to have that level of expertise and be exposed to it,” said Britt.

But with weaponry aside, the school’s most important aspect is its emphasis on realism. Unlike most self-defense organizations, Krav Maga is not a competition based event. There are no belts or prizes to be won. Lessons provide an element of stress not found in traditional self-defense courses which enables the pupil to respond appropriately and efficiently to assault scenarios.

“We’re trying to build their response, not their reaction,” Britt said. “You’re born with the ability to react. You train to respond. The more realistic and the more adverse the training environment is, the easier the student will be able to deal with an attack because they’ve been there before.”

Trainers push students to their breaking points and then push even harder. Though rigorous, the techniques learned are basic in nature, including: biting, kicking, scratching, and an emphasis on the highly effective groin kick.

Students practicing "the Hammer"

Heather Mongie, a pre-school teacher and mother of two, became the first female Krav Maga instructor in Las Vegas about two years ago. She fell in love with the empowering practice and never looked back. Mongie trained directly under the tutelage of Chief Instructor Britt and was eventually asked to become an instructor herself.

“I was a complete fiend for Krav Maga,” Mongie said. “I teach level one and two classes which include punching, fight stances, and basic combos, but we also teach you to be dirty! Boxing ears, gouging eyes, cutting, biting…anything to hurt them.”

But apart from contact combat, Mongie emphasizes awareness and preventative action. She stressed the value of being alert while out and about, removing any preoccupation that might create an environment of victimization, such as headphones.

“The very last thing you want is the ground,” Mongie said. “It’s important to understand range and take preventative measures against victimization.”

Britt and Mongie, both trainers at the Sahara facility, watch timid people grow confidence and self-assurance throughout their training. And in an effort to simulate a real attack/kidnapping, the Krav Maga school is hosting a “Fight for Your Life” program on May 7th. For a fee, those who sign up will be bound, gagged, blind-folded, and driven to an unknown location by the instructors. Their objective is to fight by any means necessary in order to escape the realistic scenario, during which time, the entire struggle will be filmed for later review by the student. These techniques prepare students to deal with the unimaginable.

Outside of training facilities, military veterans retain basic knowledge of these combative techniques. Eden Ben-David, UNLV student and former Israeli Army Commander, spent the first few years of her adulthood learning the ins and outs of Krav Maga.

“Part of my job was to teach soldiers Krav Maga. It was part of training,” Ben-David said. “I went through serious courses before I could teach [others].”

Throughout her military service, Ben-David encountered two types of Krav Maga training, basic and weapon. Weapons training involved the use of an M-16 rifle as both a firearm and blunt weapon. But Krav Maga does little for its students without repetition and practice.

“I haven’t practiced in a few years, so I don’t know if I could remember the moves,” Ben-David said. “I don’t know if it’s enough to take a few courses. You just need to practice.”

Without the appropriate training, the risk for assault and rape is much higher.

“If you take one class with us, you walk out of that room equipped with some very basic skills that can keep you alive. We build a warrior’s mentality,” Britt said. “If you’re not training, you are your attacker’s accomplice.”

Our main character, known only as V (who is inspired by the acts/attempts of Britain’s infamous Guy Fawkes), takes it upon himself to stir up and even overthrow the fascist English government by blowing up the Houses of Parliament. Though his main goal is a positive effort; to return freedom to his nation’s people, V commits heinous acts along his journey in order to achieve his means and get his message across. The message: This government sucks. Let’s get rid of it. So… is frivolous murder, treasonous planning, and the destruction of official government buildings/symbols grounds for villainy? Absolutely. V is a terrorist. V is seeking revenge for the torture/experimentation that he faced in the past.V wants to carry out Guy Fawkes’ failed attempt to blow up Parliament. V wants death upon The Chancellor and all of his cronies. But V is not entirely bad. Beneath the grinning mask is the idea that the government should fear its people, not the reverse. Beneath the mask, there is the hope that the English nation can once again listen to music freely, practice or not practice any religion of choice, and stroll the streets without restriction of curfew or “fingermen” brutality. Beneath the mask, V seeks to save society from the clutches of a dictatorship. Beneath the mask, V is just a man that wants freedom, choice, and equality. So, how can a man with such just intentions be considered a terrorist? Well… the aforementioned crimes certainly do not help his case. He is very much a double-edged sword. Either he is a terrorist to the well-being of his nation’s government/figurehead or a freedom fighter representing an oppressed, silenced, and scared nation. Unlike most stories, V’s placement on the hero/villain chart falls somewhere in the middle. He cannot be one without the other. He has motive: revenge (which earns him villain points) and action on behalf of an oppressed people (which earns him hero points.) So what do we do with this?

"Introduce a little anarchy..." -The Joker

This graphic novel character is much like Batman/Bruce Wayne, in this respect. The people love him for getting rid of the bad guy and the cops hate him for making a mess and breaking laws. (Of course, I can’t exactly place these two characters on the same totem because Batman never kills people. It’s kind of his thing…) V takes a slightly different approach to dealing with the big bad. “Who ordered the whoop-ass fajitas?!?” So, what do I call him? A messy hero? A cunning villain? He’s both, really. But then I think… would V really go through with blowing up Parliament if he wasn’t fueled by revenge? But am I allowed to consider, the “what if’s?” Because without the revenge, it is no longer V for Vendetta. It would just be V. Perhaps a lovely movie of a man sitting quietly in his “Shadow Gallery” listening to soft tunes on his jukebox. But where’s the fun in that? Vendetta (n.): “an often prolonged series of retaliatory, vengeful, or hostile acts or exchange of such acts.” His intentions (with regards to society) were noble, but his execution was wicked. However, The Chancellor’s oppression far outweighs V’s villainous acts, in my opinion… so, we’ll go with V’s definition. He’s simply, “a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of Fate.“

In simpler terms… villain (n). a cruelly malicious person who is involved in or devoted to wickedness or crime; scoundrel. (Dictionary.com)

So if we take it a step further, what’s the difference between a tragic hero and a tragic villain? I’m glad you asked. A tragic hero sets out to live the best possible life he/she can with no intentions to corrupt the world, but encounters insurmountable obstacles along the way that eventually lead to their demise and mental instability. A tragic villain is someone who did not initially intend to be villainous, but circumstances inevitably lead them to evil misdoings.

First, there is the Moor. Othello begins as a completely pure and innocent character who is desperately in love with his wife Desdemona. Though most of the Venetians secretly disapprove of the ebony and ivory union of the Moor and Desdemona, they do little to impede upon the happiness of the newly weds. However, a figure in the shadows (someone very close to Othello, in fact) wants nothing more than to wreak havoc upon the man he loathes so much. (The man who bestowed noble rank upon a fellow officer, Cassio, instead of himself.) Most townsfolk would view Iago as a good and loyal person, on the surface. However, beneath his charming smile and quick-witted snares, Iago is nothing but a menace. He is jealous that Cassio was promoted over him by Othello. [And here we're thinking... "Get over it, dude!" But Iago takes it to a whole new level.] For revenge, Iago enlists the help of a few characters, including: Emilia (his wife), Roderigo (Desdemona’s biggest fanboy), and many random passersby. [None of Iago's recruits knew he was playing devil's advocate until it was too late. What a pity...] Iago pits many characters against one another in order to reap the benefits of the turmoil. These evil actions make Iago a villain. His jealousy, devious behavior, and lies lead to nothing but tragedy… but no one knows Iago is to blame for their misfortune until the very end of the play.

Othello is slowly poisoned by the treacherous whisperings of the cunning Iago. It’s hard to say whether Iago is simply an extremely intelligent man, or a very lucky one. Or both? He always seems to smooth talk his way out of any scenario. Iago’s convincing act possesses Othello’s mind, causing the Moor to being villainous deeds. Because Iago poisoned him with the idea that his wife, Desdemona, was unfaithful to him with one of his best mates, Othello went insane. So insane with rage and jealousy that he went through fits of apparent epilepsy. But because Othello did not set out to be wicked at the start, he is a tragic villain and not just a villain. The jealous Iago wanted revenge and Othello was merely a victim in the man’s evil plight. Tragic…

Remember, remember the 5th of November… the gunpowder, treason, and plot. I know of no reason why the gunpowder treason should ever be FORGOT.

The Infamous Guy Fawkes (click for the story)

“Voilà! In view, a humble vaudevillian veteran, cast vicariously as both victim & villain by the vicissitudes of Fate. This visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant, vanished. However, this valorous visitation of a by-gone vexation, stands vivified & has vowed to vanquish these venal & virulent vermin van-guarding vice & vouchsafing the violently vicious & voracious violation of volition. The only verdict is vengeance; a vendetta, held as a votive, not in vain, for the value & veracity of such shall one day vindicate the vigilant & the virtuous. Verily, this vichyssoise of verbiage veers most verbose, so let me simply add that it’s my very good honor to meet you & you may call me V.“

[Yes, yes... it's a bit early in our class schedule to be talking about V and Guy Fawkes, but my friends and I always celebrate Guy Fawkes Day/Bonfire Day by watching V for Vendetta and quoting the movie like crazy, cause we're nerds like that. But this story really does make you wonder how different the world would be if Guy Fawkes and his team had succeeded in blowing up the Houses of Parliament. ??]

Happy Guy Fawkes Day, all!

When I asked my teenage sister what a tragic hero was, here was her response: “Well we’ve got a hero and they do something heroish….erm, heroic. He feels guilty. Then he dies. TRAGIC HERO!” Erm… nice try, sister. But here’s my take on the subject.

Let’s analyze the topic bit by bit. First, what is a hero? By my working definition, a hero is someone possessing a unique past or birth, who grows and learns from extreme trials and tribulations throughout their lives (be they incredible physical feats or a superb mental breakthrough) and the lessons they learn are applied along their journey. These lessons include: acceptance of fate, mind over matter, selflessness, and overall strength. The hero rescues the damsels, slays the beasts, and often puts asides his/her own feelings in order to do what is right for the whole of society.

Next, what is a tragedy? Here’s the technical definition: tragedy (n.) a dramatic composition, often in verse, dealing with a serious or somber theme, typically that of a great person destined through a flaw of character or conflict with some overpowering force, as fate or society, to downfall or destruction. (Dictionary.com)

In simpler terms, a tragedy deals with a character who is destined for despair based on poor actions or mistakes in life, inevitably leading to feelings of deep-rooted guilt and sorrow. With this being said, the question is… what is a Tragic Hero? This recipe is simple. Just stir the ingredients together, and voila! Tragic hero!

Tragic heroes are basically your run-of-the-mill heroes (unique & powerful of brawn or brain), but their stories are much more poetic and they arouse senses of empathy and fear in audiences. Tragic heroes must discover their fatal flaw/mistake throughout their journey and eventually develop a guilty-conscience for what they have done or become.

Oedipus is a fine example of the tragic hero. From birth, his parents were told a prophecy that the child would wed his mother and kill his father. In an effort to prevent this tragic passing, the royal family has the child’s feet nailed together and he left to die atop a mountain. However, the child is later saved, adopted, and given a whole new life. Despite this change in parents, Oedipus still, though unknowingly, marries/sleeps with his mother (Jocasta) and kills his father (Laius) at a crossroads. After discovering the truth about Oedipus’ life, Jocasta takes her own life and Oedipus gouges out his eyes. Tragic, indeed. Oedipus’ life turned upside town as soon as the prophecy was spoken. Even after his parents went to extreme measures to avoid the cursed future (though cruel as it may have been), the misfortune still found Oedipus and his family. The once newborn son of King Laius and Queen Jocasta was transformed into a murdering king with an oedipal complex (which is where the condition derives from, obviously.) The now blind king asks to be banished because he cannot bear to remain in a place of such great misfortune and woe. This guilt stays with Oedipus eternally, as guilt tends to do in the tragic hero.

Oedipus the King

Normal Heroic Qualities + Tragic Fortune/Mistake + Eternal Guilt/Suffering = The Tragic Hero

Welcome to The Tragics. I read Oedipus four years ago, but as interesting and twisted as that tale was… I’d rather focus on the story of Medea; new material for me. And boy, is this tale TRAGIC!!

The tale of Medea is filled with betrayal, false trust, and murder most foul. Jason, the power-hungry husband of Medea, bails on Medea and kin in order to advance his social status or “station” in society by marrying King Creon’s beautiful daughter. Such betrayal stirs deep emotion in Medea, causing her to fly off the handle and go mad with rage. Jason’s wicked deed led Medea to do very wicked things. First, she lured Jason into a false sense of security and as soon as he was comfortable, she would pull the wool over his eyes.  In an effort to hurt Jason as much as he had hurt Medea, she determined to extinguish the lives of their two children. She felt that the joy of punishing Jason would outweigh the guilt and sorrow she felt for murdering her beloved two children. But before committing this hanous act… Medea’s first target is the new young wife of her ex-husband. “Hell hath no fury like a woman scorned” could not ring more true than in this story. Medea proceeds to poison a dress and coronet and presents them to the young princess of King Creon aka Jason’s new wife. Upon seeing his daughter’s life slip away from poison, he tightly embraces her lifeless/poisoned body in an attempt to join her in the afterlife. [That's a pretty intense reaction to divorce, eh?] Because of Jason’s wicked deeds, he can be considered our villain. Sure, he wasn’t the one doing all the elaborate murder planning and whatnot like Medea, but it was his selfishness and need for power that got him into this mess in the first place. He lost his new wife, father-in-law, and two beautiful children in a short period of time because he acted selfishly. This is not a trait of a hero.

Medea, however, is our protagonist. She has been scorned in the worst possible way (in her mind) through the betrayal of her husband. But was murdering people worth it in the end? Was infanticide the only way to punish her ex-husband, Jason? Of course not… but she had to punish Jason in the worst possible way as to match the humiliation of their separation. What better way to destroy a man’s pride than to kill the fruit of his loins?

Medea, though spiteful and vindictive towards her ex-husband, is a hero in many respects. She fights for what she believes in (which, in our case, would be fidelity and loyalty to family.) Medea also sacrifices a major part of herself (her children) in order to prove her point. [Note: I'm not condoning Medea's actions because infanticide is not heroic, but the reasons behind her actions proved to be mostly sound.] Medea wanted a happy, healthy, and loyal family… but she was stuck with a power-hungry husband who traded her/her kids in for a royal beauty. These actions would piss any sane person right off. Another heroic quality of Medea’s is dedication. She stuck to her words 100%, which makes her more honorable, in my view. Following through with one’s plans isn’t always easy… but it can receive heroic merit. All in all, Medea got what she desired by eliminating what Jason cared for most, as he destroyed the beating of her loving heart.

It is through the reaction of a character that we begin to learn more about them and ultimately determine their role in a hero quest. Thus far, I have assembled two generalized types of reactions to a chaotic environment. The first deals with brawn and physicality. All of The Fighters would fit nicely into this category. In our readings and class activities, we’ve come across several fighters, including: Gilgamesh, Odysseus, Beowulf, Buliwyf, Herger the Joyous, and Rama. Though the men dealt with unique circumstances in their respective stories, each had to demonstrate their physical worth in some way or another, whether it be at the lethal jaws of a dragon, the sexual advances of a goddess, or the rath of a beauty-loving kidnapper.

Conceptualizing and understanding the methods of The Thinkers is a little more tricky because their decisions are nearly always internalized and reflected upon. Before diving into this sect of heroes, the class examined the principles of Taoism and the importance of achieving enlightenment or finding “The Way” during the course of the human condition. Despite the hippy-esque style of peace, love, and serenity… when it comes down to it, it really is difficult to overcome one’s own mental anguish and turmoil. The thinkers included: Giō, Sharahazad, Kumagae, and Neo. Each character had to overcome mental strain in extreme situations, which nearly drove them to the brink of insanity. However, these heroes stuck it out til the end in their respective stories. Overcoming fears, doubts, curiosity, and hate are difficult tasks for any human being. Because of this, many believe that mental battles are far more complex and heroic than physical ones. Which brings me to the question… does a hero HAVE to be one or the other, or can it the term hero refer to a few “brands” of heroes? What does it mean to be a hero? Do they wield a sword and slay beasts? Do they aspire to achieve enlightenment by following The Way? Do they overcome their fears in order to get the job done and save the day? Does the demi-god have more power than the reserved monk? In my research, both brands of heroes are equally important in the quest for heroism. I believe that a demi-god and monk can BOTH be heroes, but in their own ways. Perspective often comes into play when dealing with the hero who saves the day.

Disclaimer: After watching The Matrix again after a full decade, I now have a new appreciation for the movie and concept. I once had a discussion with a friend about the idea of The Matrix. She asked me, “Ever wonder if The Matrix is real?” I could see it in her eyes that she was serious about the matter. Of course, I looked at her like she was high. (Let’s be honest… she probably was.) But when re-examining her question, it is not totally without merit. The world we live in is merely the perception of our reality, or our “ideal.” Because we have not been exposed to other worlds/realities, we are confident in saying that this earthly world in 2010 is real. This life/world is all we know, therefore… how can it be an illusion? The Matrix is really just a modern twist on the story of The Cave.

• Plot-points (The Cave): Prisoners are held captive inside a dark cave, facing a wall for an indefinite amount of time. A fire is lit behind them, casting shadows on the wall they face. All they’ve ever seen are shadow figures, dancing on the wall and therefore perceive these shadowy images to be the reality of their world. [ex. The shadow of the dog walker & canine = a dog.] However, when said prisoners are introduced to daylight, they cannot handle the fact that the dog walker & canine are two separate entities. Being introduced to this alternate reality was too much for the prisoners to handle and therefore, they revolted and killed their captors. Lesson: Sometimes ignorance is bliss??

In relation to The Matrix, both stories introduce the concept of an alternate reality and a human’s ability or lack of ability to accept their surroundings at face value. The prisoners in The Cave acted as most people would in such a scenario: with fear and violence. For example, if a stranger came out of nowhere and tried to convince me that the sky is red, I would laugh in his face. There is no way, in my mind, that the sky could be red (because of scientific knowledge and the concept of MY reality). The sky is blue. Sticking with the color theme… The Matrix‘s main character was given a choice between a red & blue pill, which brings us to our cast…

First, let’s establish the roles in the hero quest of some of the characters:

• Hero: Neo “the One”; unique past (awesome computer hacker & wants to know the meaning of The Matrix)

• Guide: Morpheus (older, more experienced figure; believes in Neo to the point of no return)

• Prophet/Guide #2: The Oracle; tells Neo what he “needs” to hear before the hero can advance/be successful on his own

• Trainer: Computer Programs, Morpheus & crew help

• Chief Adversary: Mr. Smith & his Agents; Neo “descends into the Underworld” when fighting the machines/agents

So, with The Thinkers it’s all about mind over matter. Because The Matrix deals with virtual realities and computer programs, Neo must use his internal judgment to decide what the right/most heroic thing to do is. His journey began by choosing the red pill over the blue pill. “Alice tumbled down the rabbit hole” as it were… instead of returning to the world of the blue sky. Morpheus and Trinity traveled to Neo’s reality in order to retrieve him because they believed him to be “The One.” He was reborn into a futuristic world of machines and computer generated monsters. After his rebirth, Neo was trained in combat through software programs in order to have the strength to fight the evil Agents of Mr. Smith. On the brink of death, Neo finally masters himself and finally “defeats” the Agents of chaos.

But is Neo a hero without any real physical feat being done, outside of The Matrix? Absolutely. Not all heroes are club swingers and sword wielders. Neo demonstrated heroism by overcoming his lack of belief in himself and performing the tasks that would ultimately save some of the teams’ lives. All in all, it was a pretty great flick after 10 years… but I’m too stubborn to consider anything too outlandish outside of my own reality. My ideal is nice, let’s keep it that way.

[Note: Jess, you must really be a Hugo Weaving fan... since he's one of the main guys in both The Matrix & V for Vendetta, yes? Love it!]

King Shahrayar & Shahrazad

Is Shahrazad our heroine in 1001 Nights? Yes. Can I consider her a personal hero of mine? Absolutely. She demonstrates several admirable qualities which firmly place her in the “Hero” category, for me. First, I admire her lack of hesitation. Unlike the aforementioned heroes of blogging past like Gilgamesh (who almost allowed the fear of mortality ruin his life –ha, irony), Shahrazad does not question herself, nor her motives throughout her journey. In an effort to dissuade the bitter King Shahrayar from continually “wedding, bedding, and beheading” (Jess McCall) his flavor of the day “wife”, Shahrazad offers herself to his highness. This decision wreaked of bravery! Though Shahrazad knew there was a chance of utter failure (off with her head!) she believed taking the chance was worth it. She wanted to either change the king’s outlook on life/women or die trying. Though this greatly disheartened her father the vizier and her younger sister, Dunyazad, she felt it was her duty to the people (mostly women) of her community to attempt to halt the king’s actions. Inevitably, King Shahrayar (hater of women) accepts the vizier’s daughter as his bride. But before he can dismiss his wife and force her into the afterlife, she concocts a clever plan.

King Shahrayar is an avid listener of stories. Fortunately, his latest bride, Shahrazad, is a master teller of stories. Each night for one-thousand and one nights, Shahrazad postpones her judgment day by captivating the king with wondrous fables and imaginative tales. Shahrazad’s use of storytelling to distract the royal is ingenious. Much like fellow hero Odysseus, Shahrazad utilizes her cunning and imagination to outsmart her foe. Maybe if I can distract him with magnificent tales of other worlds, I can buy enough time to change the heart of the woman-hating king? This proved that Shahrazad could think on her feet, which is another attribute of a heroic character.

Also, with the girl’s choice to marry the king, she demonstrates pure selflessness. Many of the aforementioned heroes throughout this blog establish some form of selflessness throughout their quests, but Shahrazad acts in such a manner immediately and without question. Sacrificing herself for the sake of saving lives is completely worth it to her. And every night she spent with King Shahrayar, another virgin was saved from the murderous marriage bed. However, by the end of the one-thousand and one nights, Shahrayar’s frozen heart begins to thaw. He discovers that he has three children with his wife (she kept those pregnancies hidden well, don’t you think?) and that her stories are heart-warming. With a cloud of guilt lowered over his head, King Shahrayar does not have the heart to dispatch the mother of his three beautiful children.

In addition to her compassion for others, Shahrazad (eldest daughter of the vizier) displays total and complete purity. As described by the king himself, “I loved you in my soul because I found you pure, holy, chaste, tender, straightforward, unassailable, ingenious, subtle, eloquent, discreet, smiling, and wise” (471). The only other hero that could match Shahrazad’s pure qualities would be that of Sita in Sita Sings the Blues. Both women give themselves entirely to their cause. One, surrenders herself to Mother Earth; Sita. And the other abandons any trace fear and lives with the cruel king in order to save her people. Both women are pure and chaste, which shows extreme devotion to their loved ones. In my book, the culmination of these qualities defines a hero.

In a funny way, this story reminds me of Disney’s Beauty and the Beast. Our Belle (Shahrazad) lives locked away with a menacing Beast (King Shahrayar) in exchange for the lives of her loved ones; i.e. Belle’s father (Maurice) or Shahrazad’s fellow women. During their stay, both women tell incredible stories that warm the hearts of their “beasts” and inevitably, the once hesitant captives become amorous lovers to the newly awoken spirits of the once rigid men. When the bitter layers are torn away, we are left with a handsome prince and a loving paternal king.

[I wonder if Beauty and the Beast is based off of this tale?? Which would be strange... since Aladdin stemmed from another of the Arabian Nights.]

Belle & the Beast

The Thinker vs. The Fighter

True, a person can demonstrate heroism through incredible physical feats and intense trials and tribulations as we’ve seen with heroes like Gilgamesh, Odysseus, Rama, and Beowulf… but not all heroes demonstrate their power on the physical plane. When examining “The Thinkers” we discover that overcoming one’s mental state can be far more challenging than facing a six-headed sea beast or venomous dragon. Humans are stubborn beings by nature, so willing one’s self to be different and be better is no easy task. As creatures of habit, we are generally set in our ways in regard to our actions and morals. The “I’m right, you’re wrong” attitude is a heavy weight on the shoulders of us all. But within the principle of Daoism, we find the term: The Way. The Way is an order/method of living. To contrast the linear ideal of right and wrong (found in Western religious practices), The Way teaches us that there is no absolute good or absolute bad. Instead,  it is said that people will learn from their experiences and ultimately make choices that are “right” for them and their personal path to enlightenment. So, how does this relate to The Thinker’s Hero Quest?

In reading Giō, I found the obedient daughter to be quite heroic. The Japanese shirabyōshi dancer demonstrates several heroic qualities throughout her journey. To me, one of her most profound qualities would be that of her selflessness. Like Sita, Beowulf, and many before her, Giō sets aside her personal views and feelings in an effort to keep those around her happy.

[Tangent: Giō's mother really irked me. Her character seemed nothing more than an incessant guilt-trip. Her humble and talented daughter was dealing with some extreme internal abuse (from the unappreciative Chancellor) and yet the mother still expected Giō to please the authoritative figurehead so she could remain at peace in her old age? And why? Because she was so comfortable living in the capital that she couldn't be bothered with her daughter's free will and feelings? Ridiculous, if you ask me. I would say that Giō's mother is her foil, in fact.]

The woman is completely self-serving at one point in the Giō text:

For three whole years you enjoyed favor with the Chancellor. That was a stroke of fortune hardly to be matched. Now if you refuse to answer his summons, if it scarcely likely you will be put to death. Probably you will merely be banished from the capital. And even if you are banished, you and your sister are young and can manage to live even in the wildest and most out-of-the-way spot. But what of your mother? I am a feeble old woman –suppose I am banished too? Just the thought of living in some strange place in the countryside fills me with despair. Let me live out the rest of my days here in the capital. It could be thought of as being filial in this world as well as the next.

Giō‘, much as it pained her, did not feel that she could disobey these pleas from her mother and so, weeping all the while, she set out for the Chancellor’s mansion. ( 1378)

Due to Giō’s sense of guilt and duty to her family, she goes along with the mother’s request. In my view, setting aside one’s personal feelings and deep-rooted upset in favor of another’s wishes is a mark of a true hero. Towards the end of the tale, Giō impressed me once again by an incredible mental feat. She dropped away any trail of sadness and devoted herself entirely to “the recitation of the Buddha’s name.” By giving herself to the spiritual life, the former shirabyōshi dancer is following her quest for The Way. So despite the protagonist’s lack of physical battle and anguish, she is still a hero in my eyes because she overcomes her mental pain and eventually does what is “right” for her path in life.