Month: October 2020
Wild Geese New Historical Theory
What do you think is Ogai Mori’s perspective of Japan and its relationship with the West at this time, and what aspects of the story have given you these ideas?
From the opening of the novel, Ogai’s point of view has been consistently first person, yet he remains omniscient as detailed accounts of all mental and physical activities were given when it is impossible for him to obtain the relevant information. The usually objective omniscient retelling is framed by a very personal narrative tone, in which Ogai asserts his judgement of moral behaviour and imported culture.
Ogai was born during a period in which Japan as a nation is rapidly developing to rid themselves of the unfair treaties from the Western nations. He frequently gave descriptions of Japanese architecture fused within a university, which is an accurate reflection of the landscape of Japan during its educational reform. In the opening of chapter 4, he describes the university students as beasts within cages, the latter being the university dormitories, then compared them to animals in a zoo. The first person who deceived Otama and dealt the first flow to her spirit was a policeman–a western occupation, who left his western shoes at the doorsteps. Suezo picked linnets over canaries, when the latter is showy and the former is encaged for its beauty. This is Ogai choosing between the hierarchical traditional Japanese culture and outspoken democratic western influence.
As readers, we interpret a sense of female empowerment through Otama’s journey in resisting her role as an obedient mistress. However, this might well be the product of our time, as the symbolism of the snake was very well manipulated by Ogai to show his opposition to westernization during a time where nationalism is pervasive in Japan. Ogai is conscious that the western interpretation would connect Suezo to the snake, and believe that Suezo, who is a traditional Japanese man, is the culprit for the unwanted disturbance. However, Ogai intends to deliver the real message to his countrymen, who would see the snake as a symbol of change and thus make a connection to Okada, who would be seen as a heroic figure in accordance through a western lens. There is almost a sense of irony when Ogai had the hero, as perceived by westerners, slice open a symbolism of western influence to save the linnets. The birds are symbolic of Otama, who could then be seen as a symbolism of Japan from her obedience to classes and duty. This is allegorical of how Japan is training their youth through western education to gain true independence and drive the western superiority out of their lands. Okada would have had the same experience as Ogai actually did when he studied in Germany. The moment where the doctor told Okada suits made by Japanese tailors would not do could be a reflection of Ogai’s experience abroad. He may have felt anger, spite or motivation, which he decided to embed within the snake killing story. The storytelling’s paradoxical mix of first person narrative and omniscience raises suspicions: does the novel recount an actual love story by which Ogai was never a part of, or a fabricated event in which Ogai romanticized the outcasting of western influence?