Since they acted to avenge their lord, their unswerving giri had to be regarded as an example for ages eternal ... Therefore the Shogunate after deliberation commanded seppuku, a plan which killed two birds with one stone.
That is, in killing themselves with their own hands the ronin paid the supreme debt both to giri and to gimu.
This national epic of Japan varies somewhat in different versions. In the modern movie version, the bribery theme at the outset is changed to a sex theme: Lord Kira is discovered making advances to Asano’s wife, and because of his attraction to her he humiliates Asano by giving him false instructions. Bribery is thus eliminated. But all the obligations of giri are told in blood-curdling, detail. ‘For giri they forsook their wives, parted with their children and lost (killed) their parents.’
The theme of the conflict between gimu and giri is the basis of many other tales and movies. One of the best historical movies is placed in the time of the third Tokugawa Shogun. This Shogun had been named to his office when he was a young and untried man, and his courtiers were divided among themselves about the succession, some of them supporting a near relative of the same age. One of the defeated daimyo nursed this ‘insult’ in his bosom in spite of the capable administration of the Third Shogun. He bided his time. At last the Shogun and his entourage notified him that they were to make a tour of certain fiefs. It was incumbent upon this daimyo to entertain the party and he seized the opportunity to even all scores and fulfill his giri to his name. His home was already a stronghold and he prepared it for the coming event so that all egress could be blocked and the stronghold sealed. Then he provided means by which the walls and ceilings could be knocked down on the heads of the Shogun and his party. His plot was staged in the grand style. His entertainment was meticulous. For the enjoyment of the Shogun he had one of his samurai dance before him and this samurai was under instructions to plunge his sword into the Shogun at the climax of the dance. In giri to his daimyo the samurai could in no wise refuse his lord’s order. His chu, however, forbade him to lift his hand against the Shogun. The dance on the screen fully portrays the conflict. He must and he must not. He almost brings himself to strike the blow but he cannot. In spite of giri, chu is too strong. The dance degenerates and the Shogun’s party becomes suspicious. They rise from their seats just as the desperate daimyo orders the demolition of the house. There is danger that the Shogun, though he has escaped the dancer’s sword, will be killed in the ruins of the stronghold. At this point the sword dancer comes forward and guides the Shogun’s party through underground passages so that they escape safely into the open. Chu has conquered giri. The Shogun’s spokesman in gratitude urges their guide to go with them in honor to Tokyo. The guide, however, looks back into the falling house. ‘It is impossible,’ he says. ‘I stay. It is my gimu and my giri.’ He turns from them and dies in the ruins. ‘In his death he satisfied both chu and giri. In death they coincided.’