Honorific speech in Japanese word "meshi", the Japanese equivalent of Sino-Japanese "go-han", is considered rough and masculine (男性語). The honorific "o-" is also sometimes attached to of native verbs (hence native "o-") to refer to a specific item associated with the verb, as in oshibori (お絞り、絞る) "hot towel", and onigiri/omusubi (お握り、握る and お結び、結ぶ) "rice ball". In rare cases, both a base form and honorific are in use with different readings. A notable example is 利益 "ri-eki" "benefit, profit (e.g., business)" and 御利益 "go-ri-yaku" "divine favor, grace"; plain "ri-yaku" is sometimes used, but "go-ri-eki" is generally not. The former, an everyday term, uses the usual
A Japanese Tragedy cousin. Alexander Jacoby regarded the basic story of the mother and her selfish children to be more "vivid" than the wider context provided by the newsreels. Isolde Standish points out that the newsreels give credence to the "subjective memories" of the characters that are shown in the film's flashback scenes. For example, newsreel footage of American soldiers cavorting with Japanese women foreshadow a flashback scene depicting Haruko's decision to become a prostitute. According to film critic Donald Richie, "A Japanese Tragedy" was one of the first post-war films to focus on Japanese mothers, as Mikio Naruse's "Repast" was one of