Wild Geese–New Historical Theory

1. Quickly review the novel’s context (written 1912, set 1880) and New Historical Theory as a literary critical lens
   1. New Historical Theory–how we tell history tells more about ourselves than the history itself.
2. Read the introduction of the novel: what do you learn about the novel’s biographical context that shapes your reading of the novel in its historical context?
3. Keeping in mind its many explicit references to the West, do you think the novel could be said to be an allegory for Japan at this time in its history?

The biography told me the story of Ogai living in the age of confusion and great changes, where Japanese values and western values were conflicting in many cases. It was interesting to see how Ogai observed these changes instead of just promoting it, despite having his own experience overseas, and the countries atmosphere heading towards change and what they called, ‘progress.’ However, I think it was also because of this growing atmosphere that made Ogai put a suspicious look on the changing Japanese values, and The Wild Geese was something that was communicating this through the many references. In many places, such as the policeman’s shoes and the canaries, western references are used in items or things which are pushed back by the characters. Also, the parasol is used as a catalyst for the change between Suezo and Otsune’s relationship, and this implies the western item as a strong ‘influence’ of that time.

• How would you describe the narrative technique and point of view?
• Discuss its implications…
• How do we make sense of authorial perspective in relation to the narrative perspective?

Although this novel is written in first-person, most of the time, we forget that the narrator is one of the characters and seems as though it is narrated in third-person, since the narrator’s personal emotions and opinions are rarely expressed. However, there are moments when we do see the narrator as a character, for example at the opening of the book, and the end where he actually becomes part of the character in the story itself. Within these moments, I realised how he is not only expressing his own thoughts but is also foreshadowing, and hinting the metaphor of the wild geese. The sentence, ‘Without any logical connection, the woman of Muenzaka came into my mind.’ from chapter 24, shows the narrator’s intention to hint the metaphor of the wild geese which could not fly as Otama. Also, with him being the narrator and a character at the same time, his thoughts as a character have more value than the other characters in a sense, since it shows the accuracy of his storytelling as well.  The fact that the narrator is merely a friend of Okada, and should not have known all the details of Otama’s surroundings even if they had met afterwards, and the jealousy he holds towards Okada, all suggest quite a lot of the story is made up from the narrator’s imagination.

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?

I think Mori holds a relatively nationalist perspective in which although he does have a good understanding of the western cultures and values, still think that the Japanese values should be kept and protected within Japan.

How Okada mentions the “Western suits made by Japanese tailors won’t do”–show how the people in Japan within that era perceived their own skills as totally inferior compared to the western countries, and therefore were desperate to catch up as well. This shows how the country had ended up in chaos and great change, which can be supported by the parasols bought by Suezo to Otama and Tsune. The parasols act as a catalyst within the story, in how they brought the disruption of Suezo and Otama’s relationship. Therefore through this symbolism, Mori attempts to depict the western influence being a phenomenon that transformed Japan forever, whilst bringing all the confusion as well. Moreover, the parasols were described as something that suited the beauty, Otama, perfectly, whilst it did not look right on Otsune who is described as ‘ugly’ in the novel. This further emphasises western culture as something being admired by the Japanese, especially when a large part of women’s value depended on her beauty in the eyes of men at that time in Japan.

However, there are also instances in the novel where western cultures are being rejected. For example, when Suezo tries to buy a bird for Otama, he prefers the quiet native linnets over the noisy imported canaries, and the policeman, a symbol of the evil, is wearing western shoes. These contradictions can be explained as the differences in perspectives between one that the people then held, and one that Mori heimslef holds. Although Otsune’s ugliness may have been linked to inferiorness and even hatred at that time for many men, we are still encouraged to sympathise with Otsune after all. On the other hand, the policeman’s description show him as a symbol of the evil by no means, and even gives the implication of him taking advantage of his wealth and power as a policeman. Therefore, Ogai seems to percieve the western influence as something that we should stop and think more about, rather than just accepting everything in order to catch up with their power.