Wild San: Who Really is Princess Mononoke?
San: Why did you stop me from killing her? Tell me while you're still alive!
Ashitaka: I didn't want them to kill you. That's why.
San: I'm not afraid to die. I'll do anything to get you humans out of my forest!
Ashitaka: I knew that... from the first moment I saw you.
San: And I'm not afraid of you! I should kill you for saving her!
[San turns Ashitaka around, pulls out his sword, and points it just above his neck]
That woman is evil, and there's no one who can stop me from killing her.
Ashitaka: No... Live...
San: Enough! I'm not listening to you anymore!
[presses the sword tip to Ashitaka's throat]
Ashitaka: [opening his eyes] You're... beautiful...
[San steps back, surprised]
About the Movie “Mononoke Hime”
"Princess Mononoke" (Mononoke Hime) is an animated film that revolutionized the world of cinematography, particularly in the realm of anime, though its influence extends beyond the standard sphere of manga and anime. Released in 1997 by the Japanese Studio Ghibli and directed by the renowned animation master Hayao Miyazaki, the film quickly gained cult status. Based on a rich blend of Japanese folklore, Shinto beliefs, and deep ecological awareness, "Princess Mononoke" took viewers on an unforgettable journey to an ancient world where magic intertwines with brutal reality. The film, an artistic masterpiece, achieved enormous commercial success, becoming the highest-grossing film in the history of Japanese cinema at the time of its release, presenting a fascinating story about the conflict between nature and human aspirations for industrialization.
Over the years, "Princess Mononoke" has maintained its popularity, being not just a cult work in Japan but also gaining broad international recognition. It has been the subject of numerous analyses and interpretations, ranking high in lists of the best anime films of all time. According to box office data, the film earned over $159 million worldwide, testifying to its extraordinary reception by both critics and audiences.
At the heart of this epic narrative is the character San, the titular Princess Mononoke. Raised by wolves, San became a symbol of wild, untouched nature and resistance against human impact on the environment. However, her character is much more complex than it may seem at first glance. The titular "Princess Mononoke" is a fascinating character, representing both relentless strength and sensitivity, and symbolizing struggle and coexistence. Her identity and motivations are key questions that run through the entire film: who really is San? Raised by wolves, being a warrior, and yet possessing human traits and emotions, San transcends the typical heroine boundaries, becoming an icon that raises many questions about human nature, our role in the natural environment, and the boundaries that separate us from it. In this article, we will take a closer look at this extraordinary character, trying to discover what makes her so unique and unforgettable in the history of cinematography.
Hints in the Name
The title of the film "Mononoke Hime" (もののけ姫) in the Japanese language carries deep meaning and symbolism. The first part, "Mononoke" (もののけ), is a term used to describe spirits, demons, or yōkai in Japanese mythology and folklore. "もの" (mono) means "thing" or "being," and "のけ" (noke) comes from the word "ke" (気), which means spirit or energy. In this context, "Mononoke" refers to spiritual beings or energies that have the ability to influence the physical world, often in mysterious or unsettling ways. The second part, "Hime" (姫), means "princess," which in the film's title refers to the main character, San. Thus, "Mononoke Hime" can be interpreted as "Princess of Spirits" or "Princess of Demonic Souls," reflecting both the mystical aspect of the film and the central role of San as a character bridging the world of humans with the mysterious world of spirits.
The main character's name, San, although simple, also holds deeper meaning in the context of the film. In the Japanese language, "San" (サン) is a word that can mean "three." Initially, we understand this “three” as being the third child of the wolf goddess Moro. More metaphorically, it can be interpreted as a symbol of being a bridge between worlds: human, nature, and spiritual.
There are other, extra-narrative reasons as well. Namely, the fact that in the original concept of "Princess Mononoke," San was to be the third princess of a kingdom, sent to marry a monster, hence her name San, meaning "three." However, later changes in the film's plot led to the current portrayal of San as the third "child" of the wolf goddess Moro. This evolution of San's name and character emphasizes her development from a traditional princess role to a more complex and symbolic figure, who combines human and natural elements, becoming a key character in a world where the boundaries between human and natural are fluid."
"Ugh, I smell like a human."
- San, returning to the wolf den after interacting with humans
Abandoned by Humans, Raised by Wolves
San's story begins with the dramatic events of her childhood, which set the direction for her entire life. As an infant, San was abandoned by her parents in a desperate attempt to escape from the wolf goddess Moro. In a contrasting act of mercy and maternal care, Moro, despite her wild nature, decided to take care of the helpless child. These events are not directly shown in the film – they can be inferred from various statements of the anime characters. Being raised by the wolf goddess Moro deep in the wilderness shaped San's identity, beliefs, and worldview. Growing up, San identified more with wolves and forest spirits than with humans, which determined her unique role in the conflict between the natural world and the civilizational aspirations of humanity. In reality, she did not consider herself human, or at least suppressed it as something painful and unbearable.
Having spent her entire life in the depths of the forest, among wolves and spirits, San became a strong, independent, and deeply nature-bound person. Her personality and attitudes are a direct reflection of the environment in which she grew up. Raised by Moro, San learned to respect nature and its inhabitants, which is evident in her unyielding stance to protect the forest from human threats. Her wild manners, survival skills, and deep bond with wolves and other forest inhabitants are a reflection of her unique upbringing. San does not see herself as a human but as an integral part of the forest world, leading to a conflict between her natural instincts and the human side of her being.
San's identity as "Princess Mononoke" is inseparably linked to the nature that raised her. Characterized by wild behavior, combat skills, and deep distrust of humans, San, being actually human, finds her place in the world of spirits and wild nature, making her a character on the border of two worlds – human and natural. This unique aspect of her identity makes her not only a defender of the forest but also a bridge between humans and nature, symbolizing potential harmony and coexistence of these two realms. In San, the dilemma of human nature is concentrated, torn between civilization and primal wildness, which is a key element of her role in the film.
"I'm not afraid to die. I'll do anything to get you humans out of my forest!"
- San, during her first confrontation with Ashitaka
San as the Embodiment of the Conflict Between Man and Nature
San represents the strength and rawness of nature. Her conflict with humans, who destroy the forest in the name of development and progress, is expressed in her determination to defend her home at all costs. This conflict is symbolic of the main theme of the film, which is the collision of two worlds: the traditional, nature-respecting one, and the modern, based on the exploitation of natural resources. San, standing on the side of nature, becomes a symbol of the fight against environmental destruction, emphasizing the need to find a balance between human needs and the protection of nature.
One of the most striking examples of San's conflict with humans is her relationship with Lady Eboshi, the leader of Irontown (Tataraba). Eboshi, a character representing human progress and industrialization, is responsible for deforestation and exploitation of natural resources for the development of her town. For San, who sees the forest as a living, sacred space, Eboshi's actions are a direct threat to her home and family, a sacrilege, a crime. Their confrontations, both physical and ideological, reveal a deep divide between two perspectives on the world and nature. Miyazaki does not portray Eboshi as a black-and-white antagonist but as a complex character, further deepening the complexity of the conflict.
San, being deep down a human, despite her strong aversion to humans, experiences an internal conflict regarding her identity. This dilemma is particularly revealed in her interactions with Ashitaka, a character who, though human, shows deep respect for nature and strives for harmonious coexistence of both worlds. Unlike Lady Eboshi, who represents the expansive and destructive nature of humanity, Ashitaka symbolizes the possibility of symbiosis and understanding between humans and nature.
Their relationship develops gradually, where Ashitaka, through his actions and respect for all forms of life, begins to soften San's strong convictions. It is not a sudden process or based on single events, but an evolution that takes place as the plot develops. Ashitaka, as a character who combines human traits and deep respect for the natural world, becomes for San a window to another world – one where peaceful coexistence is possible, and people can be both respectful and respected members of the natural world.
This understanding, though developing gradually, is crucial for the evolution of San as a character. Through her interaction with Ashitaka, she begins to understand that the boundaries between nature and humanity are not as rigid as she initially thought, and the world of humans can contain both goodness and respect for nature. This change in San's perception is subtle but significant, reflecting the deeper message of the film about the complexity and multidimensionality of human nature and the possibility of finding a balance between our civilizational aspirations and the need for protection and respect for the natural environment.
In the context of the broader narrative of "Princess Mononoke," San emerges as a heroine of a new era, an era seeking harmony between progress and respect for the environment. She is like the third generation, where the first was humanity living primitively in harmony with nature (we can see Ashitaka's tribe in this way). The second generation is Irontown with Lady Eboshi at the helm - progress, improvement of living conditions, and civilization, albeit at the cost of environmental destruction. The third generation could be San and Ashitaka - a generation understanding the necessity of progress, but at the same time not agreeing with blind progress. A generation (presumably our target, the 21st century) living in a developed civilization, but with full ecological awareness.
"Quiet! Watch what you say, you filthy pig!"
- San, during the confrontation with the tribe of boars.
San – The "Princess" Wild and Independent
In Japanese culture and animation, the princess character often reflects ideals of delicacy, grace, and passivity – traits deeply rooted in traditional concepts of femininity. However, San from "Princess Mononoke" represents a radical departure from these stereotypes. Her character is raw, wild, and independent, making her unique among female characters in anime (though in Miyazaki's work, not so much...). San not only survived in the brutal world of nature but became its undisputed defender. She is a warrior whose strength and courage match her male counterparts, a stark contrast to the traditional depiction of women in Japanese tradition.
San breaks stereotypes regarding both her gender and social role. She is neither delicate nor passive – she is an active, courageous, and fearless individual. As a character who fights alongside men, even taking the initiative in defending the forest, San demonstrates that strength and determination are traits not exclusively reserved for men. Her independence and reluctance to conform to traditional social expectations make her an exceptionally modern and inspiring figure, especially in a culture that often emphasizes the importance of humility and submissiveness among women.
San presents a new model of female strength and independence. She is not a stereotypical princess waiting to be rescued but rather a heroine who can fight for what she believes is right. Her attitude towards people, initially full of distrust and aggression, evolves in the film, showing her ability to change and adapt. San is strong both physically and emotionally, a refreshing change compared to the traditional roles of women in more traditional anime of those times. Her character, rising beyond typical roles and expectations, provides an important voice in the dialogue on the role of women in society, encouraging reflection on existing norms and values.
"You mustn’t give up! We’ll find a way! The Forest Spirit is with us. Keep on planting the trees, and someday, we will beat them!"
- San, determined in the face of inevitable destruction of nature.
San's Relationship with Forest Inhabitants
San's relationship with Moro, the wolf goddess who raised her, plays a key role in shaping her identity and attitudes. Moro, presented as a powerful and respected figure in the forest world, not only provided San with shelter and care but also taught her the values and rules governing nature. San, adopted by Moro and treated as her own child, develops a sense of belonging to the natural world, which is fundamental to her conflicts with humans and subsequent actions in the film.
Raised by wolves and other forest creatures, San has a unique bond with the forest inhabitants. Her relationships with forest spirits like Kodama and other animals reflect her deep respect and understanding of the natural environment. These interactions show San as an integral part of the forest ecosystem, distinguishing her from other human characters in the film. Her ability to communicate and cooperate with forest creatures highlights her unique role as a mediator between the world of humans and nature. How she cares for the forest spirits and defends them against threats from humans further indicates her strong sense of responsibility and protection, shaping her decisions and actions.
"Even if all the trees grow back, it won't be his forest anymore.
The Forest Spirit is dead."
- San, disheartened after the death of the Forest Spirit
Shintoist Motifs in "Princess Mononoke" and their Reflection in San's Character
Hayao Miyazaki's "Princess Mononoke" is a film deeply rooted in the ideas of Shintoism, Japan's indigenous religion, which emphasizes harmony between humans and nature. Shintoism is based on the belief in kami - spirits or deities present in all aspects of the natural world, from stones and trees to animals and places. In the film, kami are represented by various forest spirits, including Shishigami - a forest deity in the form of a giant deer, symbolizing the balance between life and death. San, raised by the wolf goddess Moro, lives in a world where the boundary between natural and supernatural is fluid, and respect for kami is a fundamental aspect of existence. Her deep bond with nature and forest animals, as well as her conflict with humans destroying the forest, reflects the Shintoist idea of protecting the sanctity of nature.
San, as a character living in close symbiosis with nature, embodies Shintoist values. Her life in harmony with the forest and its inhabitants, as well as her instinctive defense of these spaces against the destructive actions of humans, reflects the Shintoist idea of a living, sacred natural world deserving respect and protection. San treats animals and forest spirits not as subordinate beings but as equals, in line with the Shinto belief in the inherent value and sanctity of every aspect of nature. Her character shows how people can live in harmony with nature, respecting its rights and needs.
San's tattoos not only portray her as part of the natural world but can also be interpreted as an expression of her spiritual bond with Moro and other forest spirits. In the Shintoist culture, deeply connected with the film, there is a belief in the presence of kami spirits in every element of nature. Therefore, San's tattoos may symbolize her own kami, internal spirits that connect her with the natural world and its mysteries. These marks are much more than adornment for her – they are part of her identity and a manifestation of her spiritual unity with nature. Thus, San's tattoos are not only a distinctive element of her appearance but also a profound symbol of her inseparable connection with nature and her role as a defender of the forest world.
Interestingly, the design of San's tattoos is likely based on the tattoos of the character Kodowa from Daijiro Moroboshi's works. This inspiration highlights how deeply rooted elements of Japanese culture are in the film and how important it is to understand these influences in the context of interpreting San's character. These tattoos not only strengthen her visual connection with the wild nature but may also have deeper cultural and symbolic significance, reflecting influences of Japanese art and mythology.
San's Message
The character of San from "Princess Mononoke" and the film itself have become icons in not just Japanese culture but globally. San, as a character whose wildness and deep bond with nature collide with traditional perceptions of female delicacy, has paved new paths in portraying female characters in animation and cinema. As a strong, independent, and complex character, San speaks to a new generation of viewers seeking authentic and unconventional heroes. Her story, reflecting global environmental concerns and respect for nature, remains relevant and resonates with an increasing number of people worldwide.
Ecology: The film not only presents a conflict between nature and technological progress but also emphasizes the need to find harmony and balance. San, as a defender of the forest, symbolizes deep respect for nature and also promises a future reconciliation of living in harmony with nature with development and civilization.
Feminism: San, as a character, has had a significant impact on feminist interpretations in animation. Crossing the boundaries of traditional gender roles, she has become an inspiration for creators and audiences seeking stronger, more independent female characters. Her character goes beyond stereotypes, presenting a woman as active, self-sufficient, and influential.
Shintoism: The Shintoist motifs in "Princess Mononoke," including San's connection with forest spirits, give a deeper meaning to the plot events. This spiritual dimension of the film, combining respect for nature with mystical elements, allows viewers to understand and appreciate both the film and Shintoist beliefs more deeply. San, as a link between the human and spiritual world, offers a unique perspective on the relationship between humans and nature.
As a result, "Princess Mononoke" and the character of San remain not only important elements of contemporary culture but also a symbol of social changes and ecological awareness. The film, being a timeless masterpiece, continues to inspire and provoke discussions on topics important to today's society. The character of San, as a symbol of strength, independence, and deep connection with nature, remains a significant reference point in conversations about the role of women, ecology, and spirituality in art and life.
“Many of my movies have strong female leads—brave, self-sufficient girls that don't think twice about fighting for what they believe with all their heart.
They'll need a friend, or a supporter, but never a savior.”
- Hayao Miyazaki
SEE ALSO SIMILAR ARTICLES:
"Strong Japanese Women"
see book by the author
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未開 ソビエライ
An enthusiast of Asian culture with a deep appreciation for the diverse philosophies of the world. By education, a psychologist and philologist specializing in Korean studies. At heart, a programmer (primarily for Android) and a passionate technology enthusiast, as well as a practitioner of Zen and mono no aware. In moments of tranquility, adheres to a disciplined lifestyle, firmly believing that perseverance, continuous personal growth, and dedication to one's passions are the wisest paths in life. Author of the book "Strong Women of Japan" (>>see more)
Personal motto:
"The most powerful force in the universe is compound interest." - Albert Einstein (probably)
Mike Soray
(aka Michał Sobieraj)
未開 ソビエライ
An enthusiast of Asian culture with a deep appreciation for the diverse philosophies of the world. By education, a psychologist and philologist specializing in Korean studies. At heart, a programmer (primarily for Android) and a passionate technology enthusiast, as well as a practitioner of Zen and mono no aware. In moments of tranquility, adheres to a disciplined lifestyle, firmly believing that perseverance, continuous personal growth, and dedication to one's passions are the wisest paths in life. Author of the book "Strong Women of Japan" (>>see more)
Personal motto:
"The most powerful force in the universe is compound interest." - Albert Einstein (probably)
Mike Soray
(aka Michał Sobieraj)
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