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Three wise monkeys

The three wise monkeys, known in Japanese as sanzaru, are a pictorial maxim embodying the principle of refraining from involvement with evil through not seeing, hearing, or speaking of it. The monkeys are named Mizaru (covering the eyes to "see no evil"), Kikazaru (covering the ears to "hear no evil"), and Shizaru (covering the mouth to "speak no evil"). This representation draws from a linguistic pun in Japanese, where the negative suffix zaru ("not") phonetically resembles saru ("monkey"). The motif gained prominence through carvings on the sacred stable at Tōshōgū Shrine in , , built in 1636 to honor the shōgun . Earlier instances of similar monkey imagery appear in Asian art, including 8th-century scrolls, suggesting roots in broader regional traditions associating monkeys with warding off misfortune. The promotes a form of ethical discipline, interpreted as fostering and by shielding oneself from corrupting influences rather than mere . Globally, the symbol has been adopted in various cultures, appearing in , figurines, and to convey moral restraint, with occasional extensions to a fourth monkey representing "do no evil." Its enduring appeal lies in the straightforward visual metaphor for personal integrity amid temptation.

Historical Origins

Japanese Roots and Tōshō-gū Shrine Carvings

![Carvings of the three wise monkeys at Tōshō-gū Shrine]float-right The earliest verifiable physical depictions of the three wise monkeys appear as wooden carvings on the Sacred Stable (Shinkyūsha) at Nikkō's Tōshō-gū Shrine in . These reliefs, installed during the shrine's major expansion, show three monkeys named Mizaru, Kikazaru, and Iwazaru, each covering one sensory organ: Mizaru with its hands over the eyes to "," Kikazaru over the ears to "," and Iwazaru over the mouth to "." The carvings form part of a sequence of eight panels illustrating stages of monkey life, reflecting their role as symbolic guardians of horses in tradition, as the stable housed sacred steeds used in shrine rituals. Tōshō-gū Shrine honors (1543–1616), founder of the , with initial construction beginning in 1617 following his deification. The elaborate carvings, including the monkeys, date to the comprehensive rebuilding and expansion initiated in 1634 by the third , , and completed in 1636 at a cost exceeding 568,000 in gold. This phase integrated intricate decorative elements into the shrine's architecture to emphasize ritual purity, aligning the monkeys' gestures with practices aimed at warding off impurity in sacred spaces. The motif's placement above the stable door underscores its function in maintaining ceremonial sanctity, as monkeys were revered in for protecting equine charges from malevolent influences. Crafted by artisans during the early , the reliefs exemplify the era's fusion of symbolic moral admonitions with functional shrine elements, without evidence of earlier sculptural precedents at the site.

Antecedent Influences from Asia

The Kōshin (庚申) belief system, a Japanese folk practice predating the 17th-century Tōshō-gū Shrine carvings, draws from Taoist concepts of the sanshi (三尸), or three worms/corpses, demonic entities thought to dwell within the and ascend to heaven every 60 days—on gengshen nights—to report moral failings, thereby hastening the host's death. Adherents countered this by staying awake through vigils, inscribing talismans, and invoking guardians, with monkeys emerging as protective figures symbolizing vigilance against internal evils. This motif of restraint and warding off harm parallels the later wise monkeys' gestures, though direct textual precursors to the ", , " triad remain unverified in pre-Tang sources. Monkeys in Kōshin rituals served as apotropaic symbols, often depicted in scrolls and amulets from the (794–1185 CE) onward, where they embodied disciplined avoidance of the sanshi's malevolent gaze by not perceiving or manifesting . The practice's transmission to Japan occurred via Sino-Japanese cultural exchanges, including Taoist texts and Buddhist integrations during the (710–794 CE) and Heian eras, when Chinese esoteric traditions influenced local and folk customs along trade and pilgrimage routes. Artifacts such as 10th-century Kōshin stone inscriptions feature monkey guardians, suggesting an antecedent role in symbolizing sensory and verbal to evade predation, distinct from the shrine's explicit . While Indian Buddhist traditions feature monkeys as metaphors for the restless "" (kapicitta) in texts like the commentaries, emphasizing mental discipline over sensory restraint, no artifactual evidence links this directly to the triad's formation; diffusion via Xuanzang's (602–664 ) translations of works into may have indirectly shaped hybrid Sino-Japanese through shared themes of guarding against and defilement. Empirical precursors prioritize these Taoist physiological beliefs over folklore, as verifiable elements prefigure the monkeys' role without establishing non-Japanese origination of the specific gestural maxim.

Symbolic Elements and Proverb

The Monkeys' Names and Gestures

The three monkeys are collectively known in as Sanzaru (三猿), with individual names Mizaru (見ざる), Kikazaru (聞かざる), and Iwazaru (言わざる), translating literally to "see not," "hear not," and "speak not," respectively. These names derive from a linguistic combining the negative imperative forms of the verbs miru (見る, "to see"), (聞く, "to hear"), and (言う, "to say" or "to speak") with saru (猿), the word for "," creating a homophonic "-zaru" that denotes while evoking the animal itself. In visual depictions, Mizaru covers its eyes with both hands, Kikazaru covers its ears with both hands, and Iwazaru covers its mouth with both hands, forming a consistent that emphasizes sensory blockage through manual obstruction rather than inherent impairment. These gestures appear in the 17th-century wood carvings at Nikkō's Tōshō-gū Shrine, dated to around 1636 during renovations under , where the monkeys are shown in dynamic, crouched postures on a stable beam amid eight total monkey figures, with the trio's hands actively pressed against their faces to seal the senses. Variations in posture occur across artifacts, such as slight asymmetries in hand placement or body orientation, but the core configuration—eyes, ears, mouth—remains invariant in canonical Japanese representations carved in camphor wood or stone.

Core Maxim: "See No Evil, Hear No Evil, Speak No Evil"

The core maxim ", , " articulates a triad of sensory and verbal restraint, directly rendering the designations mizaru (not seeing), kikazaru (not hearing), and iwazaru (not speaking), where the negating suffix -zaru puns on saru (). These terms embody the principle through the monkeys' gestures—covering eyes, ears, and mouth—first prominently depicted in carvings on the stable at Shrine, constructed during the shrine's expansion in 1636. The proverb's structure promotes preemptive avoidance of inputs to forestall their into personal , grounded in the causal dynamics of habit formation where repeated exposure to stimuli reinforces behavioral pathways. indicates that cues from sensory experiences initiate cue-response loops, such that curtailing malevolent perceptions interrupts maladaptive routines and cultivates virtuous alternatives through consistent restraint. Distinguishing active discipline from passive obliviousness, the aligns with mechanisms observed in sensory practices, where controlled attenuation of distractions yields heightened perceptual clarity rather than evasion of . Empirical investigations into attentional training reveal improvements in sensory discrimination and cognitive acuity, evidencing how such restraint enhances without fostering .

Traditional Interpretations

Moral Discipline in Buddhist and Shinto Contexts

In Buddhist traditions, particularly esotericism centered at , the three monkeys—Mizaru (not seeing evil), Kikazaru (not hearing evil), and Iwazaru (not speaking evil)—serve as a mnemonic for sensory and verbal restraint, aligning with core precepts against false views, harmful speech, and unchecked sensory engagement. This connection traces to eighth-century Tendai-Buddhist transmissions from , where the maxim encouraged practitioners to avoid dwelling on unwholesome thoughts, thereby purifying the mind as outlined in meditative disciplines focused on guarding the sense doors. Empirical outcomes in historical monk practices, such as prolonged ascetic retreats, demonstrate that deliberate aversion to evil inputs correlates with diminished internal agitation and ethical lapses, as recorded in Tendai monastic records emphasizing causal chains from perception to action. Shinto interpretations, evident in ritual carvings at syncretic sites like Nikkō Tōshō-gū Shrine constructed in 1617, position the monkeys as guardians against kegare (spiritual pollution), promoting moral discipline through avoidance of corrupting influences to maintain ritual purity required for kami worship. In shrine practices, these symbols reinforce self-mastery by analogizing human conduct to the monkeys' gestures, where abstaining from evil perceptions prevents the accumulation of impurities that disrupt communal harmony and divine favor. Historical evidence from Kōshin rituals, blending Shinto guardianship with Buddhist restraint, shows participants vigilantly avoiding gossip and vice during night watches, yielding observable reductions in reported moral infractions within adherent groups. This causal mechanism underscores how proactive sensory closure empirically shields against moral contamination, as validated by sustained purity in shrine-based ethical training. The maxim embodied by the three wise monkeys finds textual parallels in teachings on sensory and verbal self-discipline, as expressed in classical compilations attributed to : "Do not watch what is improper; do not listen to what is improper; do not speak improperly and do not act improperly." This directive, appearing in discussions of moral cultivation, underscores the rectification of the mind through and expression, aiming to preserve inner harmony and ethical integrity by excluding corrupting influences from sight, sound, and speech. Such principles prioritize personal agency in guarding against moral contamination, distinct from mere conformity, as emphasized individual moral effort over external imposition in texts like the . In Taoist philosophy, analogous emphases on restraint appear in Laozi's advocacy for wu wei (non-action or effortless action), which encourages perceiving the underlying harmony of the Tao rather than fixating on discord or evil manifestations. For instance, the Tao Te Ching advises closing the senses to superficial disturbances to attune to natural order, as in passages urging one to "block the openings, shut the doors" to avoid dissipation of vital energy amid chaos. This fosters a passive attunement to cosmic balance over active confrontation with negativity, paralleling the monkeys' gestures by promoting detachment from sensory evils to maintain equanimity, though without the explicit moral framing of Confucianism. Cross-references in East Asian manuscripts, such as Tang-era (618–907 ) compilations blending Confucian and Taoist elements, illustrate idea transmission across traditions, where sensory discipline served practical rather than doctrinal conformity. These parallels highlight a shared causal logic: unfiltered exposure to erodes personal , necessitating proactive restraint for ethical stability, though Confucian texts stress deliberate while Taoist ones favor spontaneous alignment with nature.

Variations and Expansions

Inclusion of a Fourth Monkey

In some artistic and folk representations associated with practices, the triad of wise monkeys is extended to a by the addition of Shizaru, the monkey symbolizing "do no evil" or restraint from harmful action. Shizaru derives its name from the Japanese negative auxiliary "shizaru," paralleling the phonetic structure of the original three—Mizaru ("not see"), Kikazaru ("not hear"), and Iwazaru ("not speak")—to emphasize non-participation in wrongdoing through deeds. Depictions of Shizaru typically show the monkey with arms crossed over the chest, hands clasped together, or covering the abdomen or genitals, gestures interpreted as embodying over impulses and behaviors. This figure appears in select prints, sculptures, and elements from the late (19th century) into the early 20th century, often in contexts expanding the original 17th-century Tōshō-gū carvings to include proactive ethical negation beyond mere sensory avoidance. Within Kōshin folklore, where the monkeys function as talismans against the sanshi (three corporeal worms that allegedly catalog nightly sins for ), Shizaru's inclusion logically progresses the motif from perceptual and verbal to comprehensive bodily , urging adherents to abstain from all forms of evil manifestation. Such quartets, though rarer than triads, underscore a fuller virtuous cycle in popular interpretations circulated via woodblock prints and local shrine iconography during Japan's (1868–1912) and beyond.

Global and Regional Adaptations

The three wise monkeys motif disseminated to via maritime trade after Japan's ports opened under the in 1868, with exported wooden and brass figurines serving as exotic imports. In , statuettes depicting the monkeys became widespread by the early 1900s, diverging from their doctrinal origins by functioning primarily as apotropaic talismans; soldiers transported them as good-luck amulets during from 1914 to 1918, associating the figures with personal fortune rather than sensory restraint. In , the symbol adapted through cultural exchange during colonial rule, which facilitated the circulation of East Asian artifacts. received a version from Chinese visitors and kept it bedside at his from the 1930s onward, reinterpreting the monkeys to advocate shunning evil influences in mind, ear, and tongue as a foundation for , his non-violent resistance against injustice amid the independence struggle culminating in 1947. This localization emphasized proactive ethical purity over passive avoidance, with the figurine symbolizing introspection to combat societal wrongs. In the United States, the appeared in folk souvenirs by the early , often as novelty desk items like felt pen wipes emblazoned with playful inscriptions, reflecting commercialization through trans-Pacific trade routes established post-1898 annexation of and increased immigration. Examples include Ohio-manufactured artifacts from the onward, where the monkeys transitioned into whimsical household ornaments detached from religious context. These adaptations stemmed from economic incentives in export markets, with colonial-era infrastructures in accelerating artifact flows to imperial metropoles and settler societies.

Cultural Representations

Depictions in Art and Architecture

The most prominent architectural depiction of the three wise monkeys appears in a 17th-century at the in , , part of the shrine's sacred horse stable. This carving, attributed to the sculptor , forms the second panel in a series of eight monkey reliefs illustrating stages of , with the monkeys serving as apotropaic guardians to protect the horses from evil influences. Constructed during the early around 1636 as part of the shrine complex dedicated to , the panel integrates the monkeys into religious , emphasizing vigilance within a sacred context. Pre-modern artistic representations extended to portable wood and ivory carvings known as , popular during the (1615–1868). These small toggles, used to secure pouches to sashes, often featured the three monkeys in compact, detailed groupings symbolizing the , evolving from strictly sacred motifs to personal decorative items. Examples include 19th-century signed by carvers like Tomomasa, depicting the monkeys huddled together, held in collections such as those at the . Wooden from the same era, such as those carved in boxwood, further illustrate this shift toward everyday adornment while retaining symbolic elements. Over time, depictions transitioned from integral elements—where monkeys functioned as protective talismans on lintels and panels—to standalone decorative artifacts, as evidenced by holdings of Edo-period auctioned or preserved for their craftsmanship rather than ritual use. This evolution reflects broader Edo-era cultural dissemination of the motif beyond confines, with carvings appearing in secular contexts by the late 18th and 19th centuries.

Usage in Literature, Media, and Folklore

The three wise monkeys feature in through Koshin practices, where stone inscriptions and scrolls from the depict the monkeys as guardians advising against the "ten evils" to avert calamity and extend life, with followers ritually emulating their postures during vigils. In early 20th-century literature, referenced the maxim via a personal bronze statue of the monkeys, which he kept as a aligning with his for moral restraint in perceiving and propagating evil, as noted in accounts of his Ashram possessions dating to the 1930s. Media adaptations include the 1989 American comedy film See No Evil, Hear No Evil, directed by , which incorporates the in its title and centered on characters with blindness and navigating crime. The trope also appears in post-World War II animations and comics, such as narratives parodying the monkeys' poses for moral commentary. The proverb's folk relevance endures, with its English form first documented in and recurrent in proverbial collections thereafter, reflecting consistent narrative invocation across cultures.

Modern Applications and Critiques

Contemporary Symbolism in Ethics and Society

In , particularly in , the three wise monkeys principle has been adapted to advise early-career practitioners on cultivating personal by limiting exposure to unethical influences. A September 2025 publication recommends that young pharmacists "see no evil" by focusing on evidence-based practices rather than unverified complaints, "hear no evil" by tuning out unsubstantiated rumors in team settings, and "speak no evil" by refraining from that could undermine professional , thereby fostering long-term career and . This application underscores the motif's role in proactive self-discipline, prioritizing internal moral cultivation over reactive involvement in negativity. In , the symbol promotes discretion to mitigate rumor propagation and maintain productivity. A March 2025 analysis frames the monkeys as a tool for ethical navigation, encouraging employees to avoid amplifying while actively upholding standards, which aligns with broader calls to cultivate positive conduct amid challenges like or . Similarly, business leaders have historically displayed the to combat ; for instance, a 1957 advisory described using a monkey statuette as a reminder to "see no evil, hear no evil, " in countering false reports, a practice echoed in modern guides that interpret it as fostering through selective attention. In societal ethics, campaigns have repurposed the monkeys to symbolize the need for civic awareness and reporting. India's Anti-Corruption Bureau launched posters in September 2011 depicting the monkeys to urge residents to report observed graft, transforming the traditional avoidance into a prompt for disclosure. Qatar's February 2015 advertisement inverted the maxim similarly, featuring figures to encourage on , positioning the symbol as a reminder that societal purity requires confronting vice rather than mere personal detachment. These initiatives reflect a contemporary ethical emphasis on balancing individual restraint with collective accountability.

Criticisms of Passivity and Calls for Active Confrontation

Critics argue that the ", , " maxim fosters institutional and personal passivity, enabling unchecked wrongdoing by discouraging detection and . In healthcare, employers' adherence to restrictive policies—limiting disclosures to basic facts to avoid lawsuits—allowed to evade scrutiny across 13 facilities from 1988 to 2003, resulting in an estimated 40 deaths; this silence stemmed from fears of claims rather than imperatives. Subsequent like New Jersey's Cullen Law of 2004 mandates reporting of incompetence or impairment within seven days, with penalties up to $500 daily for noncompliance, underscoring the need for active confrontation over restraint. This critique extends to broader societal dynamics, mirroring the where inhibits intervention; empirical reviews confirm that bystander training programs demonstrably lower rates of interpersonal violence and by promoting proactive responses. Online debates, such as those on , question the proverb's completeness by noting its failure to address "know[ing] of evil and act[ing] against evil," implying it rationalizes inaction amid observable harms like . Contrasting views, rooted in , reject avoidance in favor of exposure; Ephesians 5:11 instructs to "have nothing to do with the fruitless deeds of darkness, but rather expose them," prioritizing accountability over perceptual denial. In , the monkeys symbolize defensive postures in scandals—such as executives' professed of at in 2011—calling instead for systemic to break cycles of deflection. Rebuttals to these criticisms maintain that unfettered perception of evil incurs moral hazards like cognitive fatigue, with studies showing selective suppression of negative stimuli enhances and reduces anxiety compared to chronic exposure. News avoidance further links habitual negative input to eroded , suggesting disciplined restraint cultivates focus for effective, rather than reactive, action.

Digital and Standardized Forms

Unicode Characters and Emojis

The three wise monkeys are encoded in Unicode as U+1F648 🙈 (see-no-evil monkey), U+1F649 🙉 (hear-no-evil monkey), and U+1F64A 🙊 (speak-no-evil monkey), all classified within the Emoticons block as other symbols. These characters were approved and added in version 6.0, released on October 11, 2010, to standardize their representation in digital text across systems. Each emoji depicts a stylized face performing the respective action: covering the eyes with hands for U+1F648, covering the ears for U+1F649, and covering the mouth for U+1F64A, typically rendered in a brown-toned style based on the base monkey face emoji. Platform-specific implementations introduce variations in visual style for consistency with vendor design languages; for instance, Apple's renders feature smooth, illustrative shading, while Google's emphasize bolder outlines and simpler forms, ensuring recognizability despite aesthetic differences. These encodings enable reliable cross-platform transmission of the proverbial triad in messaging, , and applications, preserving the sequence's intent without reliance on descriptive text or custom graphics. Their inclusion in 1.0 in 2015 further integrated them into mobile keyboards and web standards, supporting uniform deployment on devices running , , and other systems.

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