The Triumph of "Gorsh the Cellist"
Miyazawa Kenji's children's story "Gorsh the Cellist" takes us on a journey of discovery
about the human condition and overwhelms us with a tale of triumph. Each step is like a
microcosm of the whole - as though each step were a journey in itself. Kenji's stories
are set against the whole of the universe - a world replete with people, animals, and all
the elements of nature. All hold discourse together. All are in empathy with one
another. This free association between the elements and all living things that make up
our world is one of the distinguishing features that predominates Kenji's works. The
interaction he portrays is never nonsensical but always animated with an authenticity
that rings true to its audience. This is most apparent in the scene between Gorsh and
the mice where Kenji captures Gorsh's character movement and subsequent enlightenment.
There are four main elements that appeal to readers of Kenji's tales: humour - that he
can converse with mice at all lightens the mood of an otherwise somber tale; rhythm that
of his music and with it the realization of the healing and soothing properties of music
upon the soul; fantasy- as a real event of the mind. Kenji writes of fantastical
wonderful things with a nonchalance that makes it almost believable especially through
the eyes of a child; and best of all: open-mindedness- to believing in the best of all
things in strangers and other creatures.
Every child, and thus, the child in us, loves to be stimulated by the experiences of
Gorsh and if one learns the lessons alongside Gorsh as he encounters them, they can
consider themselves well taught for "Gorsh the Cellist" is remarkably didactic without
being presumptuous- this is Kenji's triumph. The simple lessons of morality are easy to
spot and easy to understand. We see, in the scene with the mice, Gorsh invites strangers
who knock at his door "Gorsh, who was used to it by now...said 'Come in'" (p.121)
unhesitating and with blind trust. This is quickly followed by initial surprise at her
request but even "not know[ing] what you're talking about" (p.121) Gorsh listens to the
mother mouse's lament and is willing to help, startled that he can "Ah I see...Now I
understand. I'll play for you." (p.122). This is a generous offer for one so depressed,
and we are further impressed by Gorsh's compassion toward the mother mouse "Of course
he's all right...so we don't want you crying now" (p.123) which imparts another important
Buddhist principle. By being sympathetic, Gorsh realizes that there is more to music
than the satisfaction of the conductor or of his fellow orchestra members. He has
discovered the enjoyment of music for music's sake and has uncovered a motivation to play
that lies in its healing properties evidenced in the wildlife around him. In healing the
tiny mouse, Gorsh in turn heals himself - finding a purpose for his passion that leaves
him exhilarated but "quite tiring talking to mice."(p.125).
This story is reminiscent of other children's tales but Kenji's skilful writing sets
this above many others. The universal message comes through like a tired cliche given
new life by this master of children's literature: "good things come to those who wait" or
"try, try again." The charm of "Gorsh the Cellist" lies mainly in that the message can
be applied to all areas of life, not just music. Knowing that Kenji himself had left a
life of wealth to walk amongst those from whom his father profited only adds to the
allure of his tales- that he follows the principles of which he writes.
Kenji lived during a period in Japan's history when the country began to manifest an
attitude that was increasingly self-centred and condescending toward the people of the
neighbouring Asian countries, and ultimately resulted in wars of invasion. An important
theme in Kenji's stories is the communication that unfolds between certain villagers and
the inhabitants of the natural environment surrounding them. His main characters engage
in open unprejudiced dialogue with creatures "different" from themselves. This may have
indicated Kenji's reaction to the society around him and may have acted as a possible
alternative to the closed and exclusionary nature of Japanese society in his day. In our
day it poses a fresh question for modern societies on the threshold of a new century.
Works Cited
Miyazawa, Kenji. "Gorsh the Cellist" Wildcat and the Acorns and other stories. tr. John
Bester. Japan: Kondansha, 1985.
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