Life is often compared to a narrative in which we are the main character. However, I have come to think of life as a narrative in a slightly different sense.
In this article, I will focus on the concept of narrative and delve into its meaning.
Common narratives, such as those found in novels, comics, or films, are separate from our world. We cannot intervene in the world of the narrative, nor do the events in the narrative world affect our world.
This is a significant difference between common narratives and the narrative of life. Therefore, in this article, I will refer to common narratives as objective narratives and the narrative of life as a subjective narrative.
First, to consider the nature of narrative, I will think about the minimum requirements for an objective narrative. Then, I will express my view on the role of the individual in a subjective narrative.
Minimum Requirements for an Objective Narrative
When thinking about what a narrative is, one might broadly imagine something that includes complex and diverse elements, such as text, drama, or manga.
The question here is not what makes a good narrative, but rather, what is a narrative.
Acknowledging that various elements constitute a narrative, let’s think about what remains when we strip away all these elements — in other words, what are the minimum requirements for a narrative.
After considering the minimum requirements for a narrative, I concluded that at least the following two points are essential for a narrative.
Minimum requirement 1: Presentation of freedom within the narrative world
At some point in the narrative, freedom must be presented. Freedom here means that there are two or more possibilities, and it is unclear which one will actually occur. These possibilities can be either explicit or implicit.
Minimum requirement 2: Convergence of presented freedom
At the end of the narrative, the presented freedom must converge somewhere. Convergence means that it becomes clear which possibility actually occurs. This can be either explicit or implicit, or even just hinted at.
Even if these two conditions are not met, it may still be considered poetry. However, I believe these conditions are essential for something to be considered a narrative. Below, I will provide some simple examples to confirm this.
Case 1: Non-narrative example (No presentation of freedom 1)
“There is a rice ball. The rice ball did not move.” This is not a narrative because there is no part that evokes freedom within the world.
Case 2: Non-narrative example (No presentation of freedom 2)
“There is a rice ball. The rice ball rolled.” This has movement, the rolling of the rice ball. However, like Case 1, there is no part that evokes freedom within the world, so it is not a narrative.
Case 3: Non-narrative example (Presentation of freedom, but no convergence)
“The rice ball is about to roll. What will happen to the rice ball?” Here, freedom is confirmed within the world. However, because this freedom does not converge, it is not a narrative. It is a preview of a narrative or a part of one.
Case 4: Narrative example (Presentation of freedom and convergence)
“The rice ball is about to roll. The rice ball ended up rolling.” Here, there is freedom in the world, and that freedom converges, so it is a narrative.
Narrative and Theory, Narrative and Free Will
The minimum requirements for a narrative depict a transition from an uncertain state to a certain state. Additionally, it is required that the recipient of the narrative recognizes the uncertainty and cannot predict the conclusion.
If the recipient does not recognize the uncertainty, condition 1 is not met, and it is not a narrative for that recipient. Also, if the conclusion can be predicted with certainty, condition 1 is not met. Strictly speaking, even if the conclusion can be predicted probabilistically, condition 1 is not met.
In other words, a narrative (narrative) is different from a theory (theory). The minimum definition of a narrative indicates that a narrative is the antonym of a theory.
This distinction also highlights the difference between the transmission of wisdom through folklore and tradition and the transmission of knowledge through scientific theory.
For example, when there is a situation where over-hunting in a forest leads to a decrease in game and a lack of sustainability, scientific theory would explain this using statistical data and mathematical models.
On the other hand, if this is conveyed through folklore or tradition, it might be told as a story involving forest guardians or monsters. The need for such fictional beings with free will arises because a narrative requires freedom and elements that prevent the recipient from making definite predictions.
When a certain future becomes a reality or when something probabilistic and uncertain becomes certain, there is a law, and the result is derived from that law according to theory.
On the other hand, when something uncertain, not fully understood by laws or probabilities, becomes certain, it becomes a narrative.
Classifying in this way, it can be said that this world is formed by the accumulation of theoretical phenomena from the past and narrative phenomena.
Free will, which does not exist or is difficult to fully grasp, is a prime example of this. Society, a group of humans with free will, encompasses both theoretical and numerous narrative aspects.
The Role of the Individual in Subjective Narratives
Let’s conclude the discussion on objective narratives and their minimum requirements here. Next, let’s consider subjective narratives.
When we liken life to a narrative, we often think of ourselves as the protagonist.
However, in my case, I feel that my role is not merely that of the protagonist. I feel like I am the actor playing the protagonist.
Furthermore, I believe there are roles of the author, who conceptualizes the protagonist, and the scriptwriter, who considers the protagonist’s character and directs the scene accordingly.
I explained that a narrative is established by transitioning from an uncertain state to a certain one.
In a subjective narrative of life, this transition to certainty includes not only passive decisions but also ones made by one’s free will. The fact that it is a subjective narrative, rather than an objective one, lies precisely in this ability to decide uncertain situations with free will.
The uncertain aspects are not only the choices of the protagonist but also the character setting of the protagonist, which can be decided by one’s free will.
Considering this character setting, one can consciously decide how to act effectively towards others involved in the narrative from a directorial perspective.
Then, whether one can execute this naturally and skillfully depends on one’s acting ability as an actor.
By utilizing techniques of setting, direction, and acting, one can make a subjective narrative more three-dimensional and profound.
Living a life as the protagonist, making decisions in each scene, is, in a sense, an extension of an objective narrative. A life that builds a subjective narrative through setting, direction, and acting is fundamentally different.
In My Case
I am setting the character of the protagonist in my life story.
In my case, I want this narrative to be an ordinary yet modestly happy one, and even if misfortunes or unexpected events occur, I want it to have a happy ending instead of turning into a tragedy.
Fortunately, we have many references around us such as novels, manga, movies, and TV dramas with a variety of protagonists. These are not just entertainment but valuable teaching materials that show us how different personalities can lead to different destinies.
I cannot determine the environment, personalities, or actions of other characters, but I can decide the protagonist’s personality. To create a narrative of ordinary, small happiness, I think about and decide what the protagonist’s personality and mindset should be.
It is impossible to fully portray a character far removed from the actor’s innate personality and temperament. However, if the actor has a certain level of skill, they can perform somewhat flexibly. Therefore, I carefully consider the actor’s natural demeanor and acting ability. If the acting ability is insufficient, it is necessary to train and improve it.
Moreover, there is no predetermined script for this narrative. Therefore, it is necessary to improvise on the spot. To handle this well, it is important to anticipate plausible scenes beforehand and think about how to behave in them. This is the direction.
Whether at work or in private, when sudden events occur that require an immediate response, if you have already considered your actions, it will be easier to perform in character. Then, there is no need to react emotionally. Also, your behavior can convey to others what kind of person the protagonist is.
In my case, to achieve modest happiness, I do not want to make enemies, and I think it is key to build friendly relationships with those around me and gain a certain level of trust. I am always thinking about the direction needed for this.
Then, I have to act. Naturally, I have a shy and introverted personality, but to realize the ideal form of this narrative, I need to overcome my natural personality to some extent and be able to act closer to the protagonist’s setting.
To do this, I have practiced taking bold actions little by little in everyday situations and proactively communicating with others. By accumulating this, just as an actor becomes engrossed in a role and loses sight of their original personality, I feel that the character I am portraying is merging with my true self. It is both acting and genuine.
In Conclusion
Perhaps we experience life as a subjective narrative built through setting, direction, and acting, and as an extension of an objective narrative as the protagonist, experiencing both aspects. The ratio of these two aspects varies from person to person.
Some people are good at using setting, direction, and acting and have a strong subjective narrative aspect, while others may struggle with these and have a stronger objective narrative aspect.
Those who are given a good stage, original work, or script, or whose natural personality and temperament are already suited to the script, may be able to live a good life without intentional setting, direction, and acting techniques.
On the other hand, not everyone is given a good stage, original work, or script. Also, there are not a few people whose innate or acquired natural personality and temperament do not direct the narrative in a positive direction.
Intentional setting, direction, and acting techniques can somewhat correct or compensate for the unfairness of what is given. If one has high skills, it is not impossible to create a wonderful narrative even under quite disadvantageous conditions.
Therefore, I think that focusing on the techniques of setting, direction, and acting can bring many people closer to a better life.
Of course, talent and aptitude are needed for these techniques. On the other hand, since they are techniques, if you find a way to learn and work on acquiring them, many people should be able to master them to a certain level.
Also, the suitable method varies from person to person. The same technique is not suitable for everyone. Therefore, ideally, various types of techniques and their learning methods should be available, making it easier for each person to find a style that suits them.
