Post by Mina Kaneko on Oct 7, 2015 20:05:54 GMT
Both “Portrait of an Old Geisha,” by Okamoto Kanoko and “Aguri,” by Tanizaki Junichiro are stories about complex relationships between two people: an older figure and a younger figure. The characters in each story depend on the other for various reasons, not necessarily of conventional love or friendship. For example, in “Aguri,” Okada is revived by the youth of Aguri, who provides him both sexual pleasure and embodies a kind of ultimate sensual beauty. For Aguri, Okada is a “sugar daddy,” and she revels in the care and attention (and money) he provides for her. By contrast, the older figure in “Portrait of An Old Geisha” is Kosono, and she takes Yuki for her younger companion (here she is the “sugar mama”)– according to Yuki, Kosono schemes in him what “she wanted him to accomplish what she herself had failed to do” (92). She's a lively woman, yet in her old age and sorrow, she seems to want to pursue dreams vicariously through Yuki. Yuki relies on her in a similar way that Aguri does with Okada; while Kosono provides financial and moral support, he is free to explore his pleasures and ambitions.
The latter relationship between Kosono and Yuki, however, is a much more symbiotic, mutual one, perhaps because we get to see and hear their interactions and conversations. Kosono appears to be very wise (or at least sure in her own views of life)–a great ranconteur and also advice-giver – and she and Yuki have a good-humored relationship. This is unlike the relationship between Okada and Aguri, however; in “Aguri,” we spend most of the story in Okada’s head. It's an extremely heady story, and at moments surreal, as we try to follow his imagined scenarios from reality. The majority of the relationship we see is through his eyes (in one hypothetical situation where he dies, for example, he imagines Aguri regarding him as a bother, and taking his money) – in this sense, our impression of Aguri is filtered through Okadas feelings and understanding of her. From what we know, Aguri is a vivacious, beautiful girl, the quintessential embodiment of young beauty. She has everything Okada is starting to lack. Yuki, in "Portrait of An Old Geisha," is not as much a quintessence of young beauty, but he does embody the quintessence of potential, at least for Kosono. The potential to pursue his scientific interests, to find his utmost passions, to live life the way he wants to (her life is described as having been more fragmented since youth).
One theme I also thought was interesting (though subtle) in both stories is "modernity," which is symbolized by Western clothing in "Auguri," and by the electrical/technological advancements in "Portrait.." (that Kosono likened to sexuality); this theme seems to contrast, somehow, with the traditional representations of the women (in their kimonos, for example).
My discussion questions are about "Aguri":
Okada and Aguri go to buy Western clothes – there’s a sort of glamour and sophistication associated with the Western ideal, even though the clothes are cheaper. What does this East-West difference represent in the story?
Okada likens Aguri to a statue; he tries to tell himself, surely, it must be the human counterpart to the statue he loves – but the story concludes with his describing Aguri as a statue nonetheless (70-73). Does Okada love Aguri? Or does she mean something else to him?
The latter relationship between Kosono and Yuki, however, is a much more symbiotic, mutual one, perhaps because we get to see and hear their interactions and conversations. Kosono appears to be very wise (or at least sure in her own views of life)–a great ranconteur and also advice-giver – and she and Yuki have a good-humored relationship. This is unlike the relationship between Okada and Aguri, however; in “Aguri,” we spend most of the story in Okada’s head. It's an extremely heady story, and at moments surreal, as we try to follow his imagined scenarios from reality. The majority of the relationship we see is through his eyes (in one hypothetical situation where he dies, for example, he imagines Aguri regarding him as a bother, and taking his money) – in this sense, our impression of Aguri is filtered through Okadas feelings and understanding of her. From what we know, Aguri is a vivacious, beautiful girl, the quintessential embodiment of young beauty. She has everything Okada is starting to lack. Yuki, in "Portrait of An Old Geisha," is not as much a quintessence of young beauty, but he does embody the quintessence of potential, at least for Kosono. The potential to pursue his scientific interests, to find his utmost passions, to live life the way he wants to (her life is described as having been more fragmented since youth).
One theme I also thought was interesting (though subtle) in both stories is "modernity," which is symbolized by Western clothing in "Auguri," and by the electrical/technological advancements in "Portrait.." (that Kosono likened to sexuality); this theme seems to contrast, somehow, with the traditional representations of the women (in their kimonos, for example).
My discussion questions are about "Aguri":
Okada and Aguri go to buy Western clothes – there’s a sort of glamour and sophistication associated with the Western ideal, even though the clothes are cheaper. What does this East-West difference represent in the story?
Okada likens Aguri to a statue; he tries to tell himself, surely, it must be the human counterpart to the statue he loves – but the story concludes with his describing Aguri as a statue nonetheless (70-73). Does Okada love Aguri? Or does she mean something else to him?
