The two sides of Love: Beauty, relationships and Western glamor in Aguri by Tanizaki Jun’ichiro and Okamoto Kanoko’s Portrait of an Old Geisha

Alhanouf Al-Khalifa
Carnegie Mellon University Qatar – Japanese Studies

Abstract

This paper analyzes two important works in the Japanese literature, Aguri by Tanizaki Jun’ichiro and Okamoto Kanoko’s Portrait of an Old Geisha. Answering a critical question: What does Tanizaki Jun'ichirō's Aguri and Okamoto Kanoko’s Portrait of an Old Geisha reveal about the Japanese culture? It reveals three main insights about the Japanese culture: Beauty standards within the Japanese society, two opposite relationships and the glamorization of Western culture. First, in the Japanese society there are some beauty standards for both men and women, for example the thinner the prettier. However, not fitting into such standards that are sit by the society, created envy and jealousy between the society members. Secondly, both stories reveal polar opposite relationships that can be seen through Aguri's and Okada's materialistic obsession versus a caring healthy relationship through Kosono and Yuki relationship. Lastly, both stories reveal the Western influence and how it affected people's their lifestyle and opinions towards the Japanese traditions, where the representation of the West in the story is glamorized.

Introduction

What does Tanizaki Jun'ichirō's Aguri and Okamoto Kanoko’s Portrait of an Old Geisha reveal about the Japanese culture? It reveals three main themes about the Japanese culture: Beauty standards, the different relationships, glamorization of Western culture. First of all, both Aguri and Portrait of an Old Geisha revealed the beauty standards that are set by the society and how such standards can cause envy and jealousy among the society members. Secondly, Aguri and Portrait of an Old Geisha revealed two opposite kind of relationships, a materialistic obsession love versus a caring healthy relationship. Lastly, the preference and openness of Japanese people to the Western culture, in which the representation of the West in the story is glamorized.

The author of Aguri is Tanizaki Jun’ichiro who was born on July 24, 1886, in Nihonbashi in Tokyo and died at the age of 79 on July 30, 1965. The story Aguri was published in 1922 in Aoi Hana ("Jun'ichirō Tanizaki - Wikipedia", 2021). Also, the author had different publications like “The tattooer” and “QuickSand” ("Jun'ichirō Tanizaki - Wikipedia", 2021). The generation that applies to Tanizaki Jun’ichirō’s Aguri is the Settlers generation, because it was when Tanizaki Jun’ichirō’s essays and publications flourished as he was described as the god of autographical literature (Goossen 1997, pp. xv).  In terms of legacies, the legacy that applies to Tanizaki Jun’ichirō’s Aguri is the stories of love and obsession, because it involves the westernization of Japan and the love relationship between characters (Goossen 1997, pp. xxviii – pp. xxiii).

The author of Portrait of an Old Geisha is Kanoko Okamoto who was born on March 1, 1889 in Minato, Tokyo and died at the age of 49 on February 18, 1939 ("Kanoko Okamoto - Wikipedia", 2021). The story Portrait of an Old Geisha was published in 1938 ("Kanoko Okamoto - Wikipedia", 2021). The author had different publications like “A Riot of Goldfish” and “Stream of Light” and most of her works were published posthumously ("Kanoko Okamoto - Wikipedia", 2021). The generation that applies to Okamoto’s Kanoko Portrait of an Old Geisha is the Wanderers generation, because at that time authors like Okamoto Kanoko and Hayashi worked together in publishing different works that enriched the Japanese literature (Goossen 1997, pp. xvi).  In terms of legacies, the legacy that applies to Okamoto’s Kanoko Portrait of an Old Geisha is the stories of love and obsession because it revolves around the relationship of Kosono and Yuki (Goossen 1997, pp. xxiii – pp. xxiv). Also, another legacy that applies to Okamoto’s Kanoko Portrait of an Old Geisha is the stories of water trade because it embodied the positive side of the world of the water trade legacy. (Goossen 1997, pp. xxv – pp. xxviii).

Similarities and Differences in Aguri and Portrait of an Old Geisha.

Beauty standards

Both authors in Aguri and Portrait of an Old Geisha promoted some beauty standards for both men and women in the Japanese culture through the description of the feminine figure. In Aguri, we can observe the beauty standards featured by Okada’s preferences towards the feminine figure. The first piece of evidence is “He had rather prided himself on it. The way I’m built makes you think of a woman, doesn’t it?” (p. 62). This reveals Okada’s fascination with having a feminine figure, as one of the beauty standards implies the thinner, the better a person would look. The second piece of evidence is “and thought there could be no more delicate beauty than a Chinese woman’s hands. But Aguri’s hands were only a little larger, only a little more like those of an ordinary human being” (p. 64) This reveals how people perceive specific figures and looks to be beautiful, in this case, women with smaller hands are considered prettier than women with normal hands. The third piece of evidence is “he had prided himself on his smooth ‘feminine’ arms; at the slightest excuse he rolled up his sleeves to show them off. Women admired and envied them” (p. 63). This shows how the beauty standards affected women, they desire to fit in, and perceived as beautiful by others. However, not fitting into such standards that are sit by the society, created envy and jealousy between the society members, especially, women. Thus, through the three pieces of evidence, we can notice Tanizaki Jun’ichiro’s writing style, as his work has been revolving about the female figure (The Editors of Encyclopaedia, 2021). Similarly, in Portrait of an Old Geisha, the beauty standards were featured by Yuki’s opinion on Michiko figure. The fourth piece of evidence is “If you’re looking for a husband, I’d say you’re still a bit lean on the social graces.” (p. 84). This reveals Yuki advice to Michiko, in which becoming fuller is much preferred by the Japanese men compared to very thin women figure. The fifth piece of evidence is “It amused him that she flirted with him like a full-blooded woman but underneath was nothing but an ill-fed child, and he burst out laughing” (p. 84). This shows how Yuki describes Michiko figure as an ill-fed child, in which Michiko is a young girl that does not feature any feminine-like figure for her very thin structure that makes her look like an ill person. The sixth piece of evidence is “Well, with some good food and exercise you’ll fill out nicely, just like your mum” (p. 84). Here Yuki advice Michiko to start eating well and exercise so she can have a good-looking figure just like Kosono, her mother. Yuki’s comments on Michiko’s body reflects how the Japanese society pressure women to have an attractive feminine figure, creating a societal pressure that might affect the women. The seventh piece of evidence is “Her face was slightly turned; her finely sculpted nose seemed etched against a cheek so heavily made up that it was as pure white and radiant as enamel” (p. 87). This shows how Yuki was fascinated by the young geisha face structure and skin, as it seems that a perfect small, sculpted nose and white pure skin is much preferred. 

Polar Opposites: Relationships

The relationships in Aguri and Portrait of an Old Geisha features two different kind of love relationships, a materialistic obsession love versus a caring healthy relationship. First of all, Aguri and Okada's relationship was not a usual relationship, as it highlights a sense of obsession and materialistic love. The first piece of evidence is, “Today Aguri must be happy, he thought, I’ll be buying her a whole new outfit” (p. 65). This shows Okada’s obsession for Aguri through spoiling her with new outfits to cheer her up. The second piece of evidence is, “The poor fool was so crazy about me he couldn’t possibly resent it I take the money and buy anything” (p. 66). This reveals Aguri’s goals from her relationship with Okada, as she cares only about his money and wealth. On the other hand, the third piece of evidence is “She is gesturing eagerly and trying hard to tell him something, but she is too far away, a veil of mist hangs between them … Yet he realizes that tears of loneliness and sorrow are streaming down her cheeks” (p. 69). This shows Okada’s feelings as he realizes that he still misses his mother and his true love relationship with his wife and daughter, which is the opposite of his relationship with Aguri. Also, Okada’s dream about his relationship with his wife and his family, reveals how he misses a loving relationship over his current relationship with Aguri that is toxic and materialistic. In Portrait of an Old Geisha, we observe a totally opposite kind of relationship between Kosono and Yuki. Their relationship is much healthy and can be described as a mother-son relationship because Kosono takes good care of Yuki. The fourth piece of evidence is “Kosono would drop by every few days. She would glance around, taking quick note of whatever he lacked and then have someone bring it over from the main house” (p. 83). This shows how Kosono cares about Yuki and tries her best to ensure that Yuki has all necessities and does not lack anything. The fifth piece of evidence is “Kosono was happy to provide him with pocket money for things like that” (p. 85). This shows how Kosono was willing to help Yuki financially even for his entertainment, just to make him happy. The sixth piece of evidence is “I’ve hired these girls today to make sure you have some fun” (p. 87). This illustrates how effortful Kosono is doing to make Yuki content and happy, in this case, arranging an outing for Yuki with girls. Also, through the pieces of evidence for the Portrait of an Old Geisha we can observe that that her work highlights some sense of sexuality and strength through the relationship between Kosono and Yuki, in which “Kanoko’s works are notable for the lush and evocative avowal of female sexuality and strength” (Copeland, 2006, p. 246). In conclusion, the relationships in Aguri and Portrait of an Old Geisha are different from each other.

Western glamor

In both Aguri and Portrait of an Old Geisha there is a clear western influence through the plot of the stories. In Aguri story, it seems that Okada, and others are welcoming and preferring the Western culture over the Japanese. The first piece of evidence is “You’ll find the rights things for yourself in the foreign shops of Yokohama” (p. 65). This reflects Okada’s opinions about the trade between Japan and Western and other foreign countries, as he believes that they are offering superior products compared to the Japanese products. The second piece of evidence is “But Okada shared her preoccupation. All the smart young foreign ladies made him think of an Aguri transfigured by Western clothes” (p. 65). This reveals how Okada is affected by the Western culture, as he is fascinated with the foreign ladies, and he keeps trying to make Aguri look like one of them by spoiling her with Western clothes and jewelry. The third piece of evidence is “Somehow the very ring of these words in his ear had the heavy, solemn beauty of the sound of a piano” (p. 70). This shows how Okada’s reacted when he reads the foreign shops names that are typed in English language. He is fascinated with the foreign shops and how beautiful they are compared to the traditional and classic Japanese shops. Similarly, in Portrait of an Old Geisha, Kosono was dazzled by the Western stylishness and the modern lifestyle brought up by the Western countries. The fourth piece of evidence is “She was both attracted and a little mystified by the conveniences of modern life” (p. 81). This demonstrates how Kosono was enchanted by the Western influence, in particular, she likes the convenience and simplicity of the Western lifestyle. The fifth piece of evidence is “Whenever she used one of her new contraptions – her heater that spouted hot water whenever she turned on the tap, or the electric lighter that lit at the touch of her pipe – she experienced a thrill of pleasure” (p. 81). Here we can see how Kosono is charmed by the Western style machines, which emphasize her preference to Western lifestyle as she always integrates their lifestyle machines in her daily routine. Lastly, the sixth piece of evidence is “How healthy, how efficient, modern life was!” (p. 81). This reflects how Kosono describes and perceive modern life compared to the usual classic Japanese lifestyle. In which, Kosono perceive the modern life as much healthy and efficient compared to the Japanese life. For example, the contraptions brought up by the Western countries make the life easier compared to the old traditional methods used by the Japanese people. Hence, we can see similarities in both Aguri and Portrait of an Old Geisha, as there is a clear preference to modernity and Western lifestyle, reflecting a sense of glamorization of the Western influence.

Conclusion

All in all, what does Tanizaki Jun'ichirō's Aguri and Okamoto Kanoko’s Portrait of an Old Geisha reveal about the Japanese culture? It reveals three main themes about the Japanese culture: Beauty standards, the opposite relationships, glamorization of Western culture. First of all, the beauty standards that are set by the society that creates societal pressure on the community members. From Aguri, “he had prided himself on his smooth ‘feminine’ arms; at the slightest excuse he rolled up his sleeves to show them off. Women admired and envied them” (p.63). This demonstrates how beauty standards influenced women's desire to fit in and be viewed as attractive by others. In which, not fitting into such societal norms, can cause envy and jealousy among society members, especially women. From Portrait of an Old Geisha, “If you’re looking for a husband, I’d say you’re still a bit lean on the social graces.” (p. 84). This shows Yuki's advice to Michiko, in which Japanese men prefer fuller women's figures rather than slim women's figures. Yuki's comments are symbolic of society's comments on one another, as they create a kind of pressure to conform to beauty standards. Secondly, both stories reveal polar opposite relationships that can be seen through Aguri's and Okada's materialistic obsession versus a caring healthy relationship through Kosono and Yuki relationship. From Aguri, “The poor fool was so crazy about me he couldn’t possibly resent it I take the money and buy anything” (p. 66). This reveals Aguri’s materialistic goals from her relationship with Okada, as she cares only about his money and wealth. From Portrait of an Old Geisha, “Kosono would drop by every few days. She would glance around, taking quick note of whatever he lacked and then have someone bring it over from the main house” (p. 83). This shows how Kosono cares about Yuki and her efforts to ensure that Yuki has all necessities and does not lack anything. Lastly, both stories reveal the Western influence and how it affected people's their lifestyle and opinions towards the Japanese traditions, as the representation of the West in the story is glamorized. From Aguri, “Somehow the very ring of these words in his ear had the heavy, solemn beauty of the sound of a piano” (p. 70). This reflects Okada's reaction when he read the western shop names typed in English. He is fascinated by the beauty of foreign shops in comparison to traditional and classic Japanese shops. From Portrait of an Old Geisha, “Whenever she used one of her new contraptions – her heater that spouted hot water whenever she turned on the tap, or the electric lighter that lit at the touch of her pipe – she experienced a thrill of pleasure” (p. 81). This represents Kosono's attraction to Western-style machines, emphasizing her preference for the Western way of life, in which she incorporates their machines into her everyday routine, such as the heater and electric lighter.