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Rafael Conte – 6244247

December 7, 2024

JPN3500 – Jhonatan Baez

桃太郎

Momotarō, Peach Boy

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Abstract:
The purpose of this paper is to describe the role that the story of Momotaro, the Peach

boy has played in Japanese history and ways of thinking. I chose Momotaro as my character

because I am interested in Japanese folktales, and he happens to be one of the most popular

folktales told in Japan. Momotaro and his story is known by almost all Japanese people and is

taught to young Japanese children very early on in their schooling. It is a story of a boy born

from a peach, who defeats a group of demons with his team of animal friends, gaining the

treasures and blessing those he is grateful to. For my analysis on Momotaro, I will attempt to

shine light on some of the major influences he has had on Japanese culture as a source of

national pride and inspiration. I will talk about how Momotaro has influenced many aspects of

Japanese culture, aspects including everything from its use in primary Japanese education to its

use as a political tool during World War 2 to garner Japanese support. I will then continue by

explaining what I believe Momotaro would think if he were to be witness to today's society and

how he might want it to change.

Introduction:
In the vibrant tapestry of Japanese folklore, I emerge as a symbol of bravery, virtue, and a

source of national pride. My name is Momotaro, also known as the Peach Boy! Come embark on

a journey with me, as I retell to you my story and its legacy on the Japanese history, culture, and

society. Born from the magical embrace of a giant peach, my story transcends the realms of myth

and reality, etching an enduring mark on the collective spirit of a nation. From ancient scrolls to

contemporary expressions of art, my tale resonates as a timeless tale, echoing the virtues of

courage, camaraderie, and resilience. Beyond the confines of folklore, my influence seeps into
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the roots of Japanese societal norms, shaping values and ideals that withstand the test of time.

Come, join me on this odyssey my life and legacy, where my impact reaches into the very soul of

Japan and its people. Together, let us explore my enduring significance and story that continues

to inspire and shape the cultural landscape of this remarkable nation.

Autobiography:
Before I tell you about all legacy and influence on Japan as a whole, first let me tell you a

little bit about my story:

Once upon a time, there was an old couple who wanted children, but were far too old to

make one and far too poor to adopt either. They were kind and honest people, and they prayed

often that a miracle might be bestowed upon them that they may not spend their last days lonely.

One fateful day, the old wife went to the stream to go wash clothes and notices a great peach

floating down the river! Oh, what a

great, giant peach it was! She stops her

laundry and makes her way back to their

little cabin with the giant peach. Excited to

see her husband’s joy, she waits until he

comes home to show him her find.

When the husband arrives, the wife

explains how she found it and they

Figure 1: Cartoon of the moment the peach busts
rejoice, deciding to eat it for dinner later open revealing Momotaro.

that night. As they are about cut it open,

the peach splits in half, a little boy inside!! They named the boy Momotaro, Momo after the
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peach he was born from and taro since he was their first “son”. They exclaimed that it was a gift

from the gods themselves. I do not actually remember it at all, that is just the story the old folk

always tell me as they reminisce about that day. They raised me as if I was their very own.

Thanks to them I grew up to be the strongest boy in the little village. I wanted to repay their

kindness for raising me. I had a dream about an island called Onigashima, the Isle of Demons. It

was said that there were many demons inhabiting the island and safeguarding fabulous treasures

that was hidden there. I dreamt that I had found the island, successfully defeated the demons with

the aid of animal spirits and received the treasure. I decided that I would make it my mission to

do just that. The old folk gave me a bunch of Kibi Dango for the road. With plenty of food and

sword in hand, I embarked on my perilous journey. Along the way I met this dog, who asked me

what I had that great sword for. I went ahead and told him of my adventure to Onigashima to

defeat the demons and take their treasure to repay the old folk back home and gave the dog some

dango. The dog said, “I will join you on

your adventure.” He then tagged along

my side. A little while later we came

across a monkey who was also very much

interested in my story. I told him my

plans and gifted him some dango as well

and the monkey decided to join us. Yet a

little while after, we met a pheasant who

seemed to know the monkey, and after

explaining my story and gifting the pheasant a dango, the pheasant decided to come along as

well. As we arrived at the shore, there was a single boat tied to a pole a bit away from reach.
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Puzzled as to how to get the boat, my companions jumped into action! The three of them worked

together and brought the boat closer, we then embarked across the sea to Onigashima Island We

landed and made our way inside the palace of the Demon King. With all my training and

newfound companions, we defeated the demons until they told us the location of the rest of their

treasures. We made them show us the treasure and carry it to the boat. We then got away as

quickly as we could from the island. My friends and I were now happy, and the old folk back

home were grateful. And we all lived happily ever after (Pfoundes).

At least, that is one version of my story. Being as old as my story is, it has been told in

many different ways over the years. Now if the version I told you is the real version or not, that’s

for you do decide for yourself! Ha Ha Ha!

Field and Background:

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According to the books and many renditions of my tale, that is where my story ends. But

on the contrary, I like to believe that my legend is just beginning. My great adventure and the

lessons to be learned

from them have gone on

to inspire and influence

many. Whether it be in

the oppressed masses,

academics, the minds of

Figure 3: A stylized rendition of Momotaro and company returning
children, or even during with treasure.
wars, my story has found a way to remain alive and relevant in Japanese culture over the

generations.

Figure 4: Page from Momotaro and the Ogre's Treasure House, published in the 1830s.
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My influence formally began in the early Edo period (1600-1868), where my story was

beautifully illustrated and printed for the masses. My story caught on among both children and

adults at the time. My victory was an escape for the all the oppressed people of the Edo period,

and called for a return to traditional Japanese values (Polen).

I have been studied in order to understand different

aspects of Japan, as my story is seen to be reflective of it.

Yanagita was the one who was the first to study my story in

the early 20th century. His book called Momotaro no Tanjou

(The Birth of Momotaro) was fairly popular at the time.

With this book, the foundation of the study of Japanese

folklore was established as he used my story, and others like

it to find out more about the uniqueness and traces of

Japanese beliefs in folklore (Wibowo). My great story of

Figure 5: Modern cover of
heroism and companionship was thus the basis for this new Momotaro no Tanjou by Yanagita.
field of study that looks into folktales such as my own, and their relationship to many different

facets of Japanese people and society. The next person to pursue this new field of study was a

man named Nitobe with his book, Momotaro no mukashi banashi (The tale of Momotaro)

written in 1907. Nitobe related my tale not only to aspects of present day, the 20th century at the

time, Japan but he also talked about how I represented the pre-history Japanese race. He went on

to say how my story was a mirror for Japan’s attraction toward the world outside their borders,

and their colonial desire to rule it as well (Wibowo).

My tale continues to be taught today in Primary Japanese schools, as a matter of fact, its

required that students learn it (Wibowo). But how did it start being taught in schools? Primary
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education was very important back then because it was a way in which the Japanese government

could slowly remove cultural differences between different regions in Japan, whether it was what

kinds of words they used or the ideas they had. My tale was one of the original stories included

in primary readers for this purpose (Antoni). And just like that, I was teaching kids all over the

nation what it means to be Japanese and inspiring them to adopt those ideals.

Figure 6: Japanese primary school children performing a Momotaro play.

That being said, I would be lying if I said the legacy of my story hasn’t been tarnished at

least once since its inception. Such a time was during a great battle called World War 2. During

this battle, my story was adapted into an animated film called Momotarō: Umi no shinpei

(Momotarō’s Divine Army). This film used me as war propaganda, where animals were the

colonial people who were seen needing of

someone to care for them. It also depicted native

animals as happily willing to help in the

Figure 7: Momotaro: umi no shinpei

snapshot depicting a human with a horn to
represent an American.
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construction of a Japanese ship. The Japanese enemy at time, the Americans, were shown as

humans with horns on their head (LaMARRE).

Reaction to Today’s Society:

In the world I find myself in nowadays, I see many people disconnected from each other.

I hope that as people from many different walks of life read my story, they realize the importance

of unity and understanding among each other. In my adventure I rallied support from the most

unlikely of comrades, and they helped me in ways I could have never imagined. Let us come

together despite our differences and help each other out in our own ways.

I also hope I inspire other to stand up for the vulnerable and poor like I did in my journey.

I was gifted with strength, skill, and determination, and I decided to use my power to repay those

that I was grateful for and who couldn’t help themselves. I too often see those in positions of

power and strength use it only for personal gain and are blind to those in need. I want to be the

pillar for using one’s potential for doing what’s right and being generous and of service to others.

Conclusion:
In the rich tapestry of Japanese folklore, I emerge as a symbol of what it means to be

Japanese that has left its indelible mark on the history, culture, and society of Japan. My tale has

been told and retold, written and rewritten countless times over the years, but its influence

continues to hold true. As I reflect on my journey, it becomes clear that my tale is not just a

quaint folktale, but rather one of courage, camaraderie, and determination.

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Starting from the early Edo period and extending to today, my message has reached

many. It provided escape, subject of intellectual discourse, ideals and inspiration for young

Japanese children, and even propaganda during a dark time of war. Nowadays my story provides

a glimpse into not only what Japanese, but also what it means to be a good person to others.

Works Cited:
Antoni, Klaus. “„Momotarô (The Peach Boy) and the Spirit of Japan: Concerning the Function

of a Fairy Tale in Japanese Nationalism of the Early Shôwa Age”. In: Asian Folklore

Studies, Vol. 50, 1991: 155-188.” Asian Folklore Studies, vol. 50, Jan. 1991, p. 155.

ResearchGate, https://doi.org/10.2307/1178189.

LaMARRE, Thomas. “Speciesism, Part I: Translating Races into Animals in Wartime

Animation.” Mechademia, vol. 3, 2008, pp. 75–95.

Pfoundes, C. “Momotaro.” The Folk-Lore Record, vol. 1, 1878, pp. 123–25.

Polen, James Scott. CHANGE AND CONTINITY OF MOMOTARÔ. University of Pittsburgh, 4

June 2008, https://d-scholarship.pitt.edu/10422/.

Wibowo, Robi. “The Accepted Outsider: A New Interpretation of The Folktale of Momotaro.”

IZUMI, vol. 10, no. 2, Nov. 2021, pp. 292–303. ejournal.undip.ac.id,

https://doi.org/10.14710/izumi.10.2.292-303.