This blog is written as a part of sem-2 assignment, submitted to the Department of English, MKBU.
Name: Avani Jani
Roll: 3
Semester: 2
Enrollment number: 4069206420220014
Paper 7: The Twentieth Century Literature: From World [AB1] War II to the End of the Century
Topic: An essay on the symbols used in the novel ‘An Artist of the Floating World’.
Submitted to: Smt. S. B. Gardi Department of English, MKBU.
Introduction:
“After all, what can we ever gain in forever looking back and blaming ourselves if our lives have not turned out quite as we might have wished?”
― Kazuo Ishiguro, The Remains of the Day (Ishiguro)
'An Artist of the Floating World' is a masterful novel by Kazuo Ishiguro that offers a poignant reflection on Japanese culture and identity during the post-World War II era. Set in Japan, the novel follows the life of Masuji Ono, an aging artist who is struggling to come to terms with his past and the role he played in Japan's militaristic regime. Through Ono's reflections, Ishiguro explores the themes of tradition, modernization, and the weight of one's past. The novel is a subtle and nuanced exploration of Japan's cultural identity and the challenges of reconciling with a difficult history. With its intricate storytelling and vivid depiction of Japan's changing cultural landscape, 'An Artist of the Floating World' is a powerful and thought-provoking work that continues to captivate readers today.
Kazuo Ishiguro's 'An Artist of the Floating World' is a remarkable novel that explores the complexities of Japanese identity and culture in the aftermath of World War II. Set in post-war Japan, the novel follows the life of Masuji Ono, an aging artist who grapples with his past and the role he played in Japan's militaristic regime. Throughout the narrative, Ishiguro employs several symbols that represent different aspects of Japanese culture, history, and tradition. These symbols serve as a powerful reminder of the transformation and Westernization of Japan and the need to find a balance between tradition and progress. In this discussion, we will explore the significance of these symbols, including the Floating World, Ono's paintings, the bridge, and the garden, and their contribution to the novel's themes and meaning. By examining the symbols in detail, we will gain a deeper understanding of the challenges of reconciling with a difficult past and the importance of preserving cultural heritage for future generations.
Brief Introduction of Kazuo Ishiguro:
The ‘Nobel prize remarks on the significance of the Kazuo Ishiguro. Born on November 8th, 1954 in Nagasaki, Japan, Kazuo Ishiguro spent the first five years of his life in a traditional Japanese-style house, complete with tatami mats and sliding shoji screens. Family photographs from his early years show him sitting formally in front of family samurai swords, banner and heirlooms. His grandfather was the head of the three-generational household and had spent many years establishing Toyota in China. Ishiguro's father was born in Shanghai, while his mother was in Nagasaki during the atomic bombing of the city in August 1945. Ishiguro attended kindergarten in Nagasaki and learned the first and simplest of the three Japanese alphabets, hiragana. However, in April 1960, Ishiguro moved to Britain with his parents and elder sister after his father was invited to work for the British government at the National Institute of Oceanography. The family settled in Guildford, Surrey, where Ishiguro attended the local school and became a choirboy at the neighbourhood church. He later attended Woking County Grammar School until university. Although the family considered returning to Japan, they remained in Britain as Shizuo Ishiguro's research was supported by the British government.
During his teenage years Kazuo Ishiguro, like many of his peers, became interested in music, and from the age of fifteen began writing songs, inspired by his heroes Bob Dylan, Leonard Cohen and Joni Mitchell, as well as by the traditional folk songs of America, Scotland and Ireland. He became part of a circle of friends who wrote and performed their own songs at small local venues, and who argued about and critiqued one another’s work, often savagely. (“Kazuo Ishiguro – Biographical - NobelPrize.org”)
In Kazuo Ishiguro's early employment, travel experiences, and educational journey, He worked as a grouse-beater at Balmoral Castle and later traveled in the USA and Canada, where he wrote two short stories. Ishiguro began his studies at the University of Kent at Canterbury in 1974, where he was introduced to the works of Proust and Kafka, which influenced him greatly. He took an intermission from his degree to work as a community worker in Scotland, where he became more politically aware. He graduated in 1978, having become interested in various authors and having written two unpublished novels while continuing to perform songs at local folk clubs.the life and work of Kazuo Ishiguro, a British novelist and screenwriter; In 1979, Ishiguro began studying Creative Writing at the University of East Anglia, where he developed a relationship with Angela Carter, a writer who would become his mentor. Ishiguro's first novel, "A Pale View of Hills," was published in 1982, and he subsequently gained wider recognition for his novel "An Artist of the Floating World" (1986). Ishiguro won the Booker Prize in 1989 for "The Remains of the Day," which was later adapted into a film. Ishiguro has since published several more novels and worked on films and stage productions. He has also written lyrics for jazz singer Stacey Kent.
an essay on the symbols used in the novel ‘An Artist of the Floating World’.
In the novel ‘An Artist of the Floating World’ by Kazuo Ishiguro, symbols play a significant role in conveying the themes and ideas presented in the narrative. Throughout the novel, several symbols are used to represent different aspects of Japanese culture, tradition, and history. In this, we will explore some of the significant symbols used in the novel and how they contribute to the narrative's overall meaning.
Floating World:
In Kazuo Ishiguro's novel "An Artist of the Floating World," the symbol of the Floating World represents the pleasure districts and the entertainment industry of Japan during the period leading up to World War II.
The Floating World is a term used to describe the fleeting and transient nature of pleasure and entertainment, which can be enjoyed for a short time before being swept away like a stream. It also refers to the world of geishas, kabuki theaters, and other forms of Japanese entertainment.
The protagonist of the novel, Masuji Ono, is a retired artist who was once a prominent figure in the Floating World. However, as the political climate of Japan changes in the aftermath of World War II, Ono realizes that his past actions and association with the Floating World may have contributed to the rise of militarism and the war itself.
Ono’s Paintings:
In "An Artist of the Floating World," Ono's paintings serve as a powerful symbol of the themes of memory, nostalgia, and the passing of time. Ono, a retired artist, spends much of his time reflecting on his past and the choices he made during his career, including the role his art played in the political climate of Japan during and after World War II.
Ono's paintings are described as being primarily scenes from the floating world, which is a term used in Japanese culture to refer to the entertainment districts of cities where people would go to drink, socialize, and engage in various forms of entertainment. These paintings are meant to evoke a sense of nostalgia and a longing for a simpler time.
However, as the novel progresses, it becomes clear that Ono's paintings are also a symbol of his own inability to move on from the past. Ono is haunted by the choices he made during the war, including his involvement in propaganda art that was used to support Japan's imperialistic ambitions. He struggles to reconcile his past actions with his current desire to live a peaceful and fulfilling life, and his paintings become a way for him to both remember and escape from his past.
The Bridge:
In "An Artist of the Floating World" by Kazuo Ishiguro, the bridge symbolizes a connection between the past and the present. The bridge serves as a physical structure that connects different parts of the city, but it also represents a metaphorical connection between the old and the new. Ono, the protagonist, reflects on his memories of the bridge and how it has changed over time.
The bridge is also significant because it serves as a dividing line between the different neighborhoods of the city. On one side of the bridge is the area where Ono grew up, and on the other side is the more modern part of the city where his daughters live. This division highlights the tension between tradition and modernity, which is a major theme in the novel.
Furthermore, the bridge is a symbol of the theme of reconciliation that runs through the novel. Ono reflects on his past actions and the role he played in promoting the nationalist cause during World War II. He tries to come to terms with his past and seek forgiveness from those he has wronged. The bridge, as a symbol of connection, represents the possibility of reconciliation between different groups and individuals.
The Garden:
In "An Artist of the Floating World," the symbol of the garden represents the ideal of harmony, balance, and beauty that Ono seeks to achieve in his art and in his life. Ono's memories of his childhood garden, which was meticulously tended by his father, are a recurring theme throughout the novel. The garden serves as a metaphor for Ono's desire to create a harmonious society and to reconcile the conflicting values of the old and new Japan.
Ono's father had created a garden that was a symbol of perfection, where every element was carefully chosen and arranged to create a sense of balance and beauty. Ono sees his own work as an artist in much the same way, striving to create works of art that are harmonious and balanced. He believes that art has the power to unite people and to create a sense of community, much like the garden did for his family.
However, as Ono looks back on his life, he begins to realize that the garden also represents a kind of prison, a place where he was confined by his father's expectations and by the strict social codes of Japanese society. The garden represents the constraints that Ono must overcome if he is to embrace the new, more democratic Japan that is emerging after World War II.
The Fire:
Throughout the novel, there are three instances where a similar scene is repeated with an older male figure, often a father figure, discovering that their son or protégé has created art that they find disagreeable. In each case, the older man destroys or facilitates the destruction of the art. Fire is present in each of these scenes. For instance, Ono's father burns his paintings, the police burn Kuroda's on Ono's orders, and Moriyama, who is fixated on accurately portraying lantern-light, insists on Ono lighting lanterns while making it clear that he plans on destroying the paintings. This repetition of fire symbolizes an artist's principles becoming tyrannical. Although the three scenarios are different, taking place in different periods and with varying motives, the presence of fire in all three emphasizes their similarities.
Samurai:
During the Medieval and Early Modern ages, the Samurai were a class of Japanese warriors and represented Japanese sovereignty and patriotism. In the novel, they hold a significant symbolic value for Ono. For instance, when Ono's grandson pretends to be a cowboy, Ono considers this to be unexciting and instead presents a list of more Japanese alternatives, including samurai. To Ono, samurai represents an independent Japan free from American occupation. Furthermore, in his painting "Complacency," Ono portrays impoverished boys in samurai-like poses to suggest that despite their unfortunate circumstances, they could be impressive and powerful if Japan had military might and national pride. Thus, the samurai symbolize more than just a mere literary device in the novel but hold deep significance within Ono's own consciousness as a shorthand for his vision of an ideal and revered Japan.
Sake:
In An Artist of the Floating World, reception rooms are where formality and intimacy intersect in complex ways, serving as a symbol of the enigmatic nature of people, even those close to oneself. Ono first learns about reception rooms from his father, who begins to use their household's reception room for "business meetings" and destroys Ono's paintings in that room. Despite the heated exchanges, the conversations between the characters are full of subtext, and neither is willing to speak directly. Ono later has similar conversations with other important figures, like his daughter Setsuko. Ono reflects that his artistic imagination may have stemmed from the forbidden reception room of his childhood, where its mystery incited his curiosity. This concept encapsulates Ishiguro's aim in this novel - to provide glimpses of characters and allow readers to piece together their internal and external lives through suggestion rather than explicit information. The reception room, therefore, serves not only as a symbol of Ono's character but also the novel's overall form, where the reader must read between the lines to gain a deeper understanding.
Cowboys:
Ono is disturbed to learn that his grandson is fond of pretending to be the Lone Ranger, as cowboys are associated with American power and cultural dominance, beyond military occupation. This preference for American culture over Japanese culture bewilders and offends Ono. Cowboys are also linked to the American frontier, symbolizing American values such as self-sufficiency, territorial expansion, and attachment to land. Given Japan's current historical moment, where territorial expansion is out of reach and self-sufficiency is a distant dream, cowboys are a loaded symbol for Ono. Therefore, Ichiro's admiration of cowboys adds further injury to Ono's already troubled state.
Lanterns:
In the novel, lanterns are associated with Ono's teacher Mori-san, who incorporates a lantern in each of his paintings and strives to capture the appearance of lantern light. Mori-san regards the flickering and delicate nature of lantern light as representing the fleeting nature of beauty and the significance of giving careful attention to minor moments and details in the physical world. Thus, lanterns represent a perspective on life that values small details and everyday moments above the ideological concerns of nationalists or the commercial interests of businesspeople. This outlook is old-fashioned, aesthetically oriented, and more conventional in its approach to viewing the world.
The Smell of Burning
The impact of a lifetime of trauma on Masuji Ono is not directly described in the novel, but is instead suggested through the melancholy feeling he experiences when he smells burning. This smell evokes two associations for Ono, both related to the loss of what he holds most dear. The first association is with the smoke produced by paintings being destroyed, and the second is with the smoke produced by bombs. The smell of burning triggers memories of both the trauma of having his own paintings destroyed by his father, and the trauma of accidentally causing the paintings of his protégé Kuroda to be burnt by the authorities. It also evokes the memory of the smell after a bomb killed Ono's wife. While Ono's father's decision to burn his paintings only fueled his determination to become an artist against his father's wishes, it ultimately led to a split between Ono and his parents. Although Ono never discusses the circumstances of this rupture, the smell of burning serves as a symbolic link between his loss of his parents and the loss of his wife Michiko in the bomb attack. This smell is a vivid reminder of both events. At the novel's end, when Matsuda remarks that the smell of burning these days usually indicates nothing more than a garden being cleared, it suggests that the post-war future will not be as marred by traumatic losses as the years of Ono's life.
Conclusion:
The novel employs several symbols that represent different aspects of Japanese culture, including the Floating World, Ono's paintings, the bridge, and the garden, reminding us of the importance of reconciling with a difficult past while preserving cultural heritage for future generations. Ishiguro's upbringing, education, and employment influenced his writing, resulting in a remarkable body of work that includes several award-winning novels and screenplays.
words: 2659
work cited:
“Kazuo Ishiguro – Biographical - NobelPrize.org.” Nobel Prize, 2017, https://www.nobelprize.org/prizes/literature/2017/ishiguro/biographical/.
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