An Artist of the Floating World: November 1949 Summary & Analysis

 

An Artist of the Floating World: November 1949 Summary & Analysis

Summary & Analysis

Ono remembers the first time he met Dr. Saito clearly. It was sixteen years ago, the day after he moved into his house. Ono was placing a sign with his name on his gatepost when Dr. Saito approached, introduced himself, and told Ono that it was an honor to have an artist of his stature in the neighborhood. In the years after that first meeting, Dr. Saito and Ono always greeted each other politely when they ran into one another. He remembers this first meeting clearly enough that he is sure Setsuko was mistaken in some of the things she said the previous month during their walk through Kawabe Park. Ono is confident that Dr. Saito knew who Ono was before the marriage negotiations started. Setsuko's visit this year was brief, and she stayed with Taro and Noriko at their new home, so their walk together in the park was one of the only times they had to speak. It makes sense, then, that Ono is still turning over some of the things she said in his mind a month later. At the time, he enjoyed the walk through the park with Setsuko on their way to meet Noriko and Ichiro.

Ono says that Kawabe Park is one of the city's nicest parks and holds a special interest for him because it was the site of Akira Sugimura's plans to leave his mark on the city. In 1920 or 1921, Sugimura (the builder of Ono's house) planned to build a kabuki theater, a European-style concert hall, a museum, and a pet cemetery in the park. Sugimura lost a great deal of his money, and his plans were ended, so now there are only oddly empty patches of grass where the buildings Sugimura hoped to build were supposed to stand. Ono feels that Sugimura deserves admiration for aspiring to rise above the mediocre, even though his plans ultimately failed.

That day, Setsuko and Ono met Noriko and Ichiro by a statue, and then Ono took Ichiro to lunch at a department store. Ichiro, then eight years old, told Ono that his favorite food was spinach and that Ono should eat as much spinach as he could, because it would give him strength. Looking at Ichiro, Ono noted the traits he inherited from his father and mother, as well as his resemblance to Kenji as a boy. He took a strange comfort in seeing this resemblance.

Ono explains that people not only take on traits as children but also in early adulthood in imitation of teachers and mentors. Even after a student rejects much of a teacher's influence, mannerisms and gestures will be left as a trace of that influence. Ono still retains these traces of his teacher Seiji Moriyama (whom he always called "Mori-san"), and he imagines some of his students still have some of his mannerisms. He hopes that even if they have reassessed some of his teachings, they are still grateful for much of what they learned.

Ono reflects on his seven years living at Mori-san's villa, saying they were some of the happiest years of his life. Back then, the villa had already lost much of its splendor. There were collapsing roofs and holes in the floor. Only two or three rooms were in good condition. In one of these rooms, Mori-san's students looked at their teacher's new works, praising their mastery and debating Mori-san's intentions. Even though Mori-san was in the room, he did not respond to their praise or opinions. Although this may seem arrogant, Ono feels that allowing students to debate was a better way for a very influential teacher to give instruction.

Mori-san's leading pupil was named Sasaki. If Sasaki suggested that someone's work was disloyal to Mori-san's teachings, the offender often gave up on the painting entirely. When Ono and the Tortoise first arrived at the villa, the Tortoise often had to destroy his work because it was "disloyal." The Tortoise had great difficulty grasping the principles of Mori-san's style. This style was defined by taking the world of the pleasure district as its topic, similar to the traditional work of Utamaro, but turning to European techniques like using blocks of color instead of bold outlines and using subdued tones. Mori-san sought to capture a melancholy, nocturnal atmosphere and often included lanterns in his paintings. The Tortoise thought that merely by including a lantern in his painting, he was showing loyalty to Mori-san's teachings.

Ono reflects that every group of students will have a leader. The leader sets an example for other students because he has the greatest mastery of the teacher's teachings. At the same time, this pupil is the most likely to see shortcomings in a teacher's teachings and want to move in a different direction. In theory, a teacher should be ready to accept this, but in practice, a teacher who has invested a great deal in a student may see treachery in the fact that the student takes a new direction. This is what happened to Sasaki. His fellow students refused to tell him where his paintings were or to speak to him, and he was forced to leave the villa without anywhere to go.

After Sasaki left Mori-san's villa, he was referred to as "the traitor." Often the pupils exchanged insults in a joking manner, but comparing another pupil to "the traitor" eventually led the pupils to come to blows. The atmosphere Mori-san fostered was very intense, and he demanded total loyalty. Although it is easy to be critical of this in hindsight, Ono says, it should be recognized that Mori-san had ambitions to change the culture of painting in the city and dedicated a great deal of time and money to his pupils with this goal in mind.

The parallel between Sasaki and Kuroda is strong here. Just as Kuroda is called a traitor while being beaten in prison, Mori-san's remaining students are driven to violence at the suggestion that they are traitors to Mori-san's ideas. As Ono seeks to justify the atmosphere of total loyalty that Mori-san fostered, he is also indirectly defending his own decision to create a similarly stringent environment.

Mori-san not only influenced his students' painting but also their lifestyles. Because they were painting the "floating world" of the city's pleasure districts, they spent many nights out late drinking or having parties at the villa with actors, dancers, and musicians. Sometimes the parties went all night, and people would be passed out around the villa the next day.

One night, Ono walks away from the revelry and sits in a storeroom where no one goes. He sits there for a long time until Mori-san comes in and asks what is worrying him. Mori-san asks if there is something about his actor friend Gisaburo that offends him. Ono admits that he feels they have spent a great deal of time with entertainers in the last few months. Mori-san does not reply but walks to the back wall of the storeroom and pulls out some of his old woodblock prints. He says of them that he feels affection for his old works but sees now that they are fatally flawed. Ono disagrees, saying that they seem to him to be an example of how Mori-san's talent transcends the limitations of that style of art. Mori-san does not reply.

After a moment, Mori-san says that Gisaburo has had an unhappy life and is only happy in the moments late at night when a woman tells him the things he wants to hear. He continues that the finest beauty in the world is to be found in pleasure houses late at night. Then he explains that the problem with his old work is that, as a young man, he did not value the beauty of the "floating world," fearing that it was decadent and a waste of time. Ono says that perhaps he is struggling with something similar, and he will try to rectify the problem. Mori-san does not respond but says that he no longer doubts what he does. He feels he will look back at the end of his life and see his attempts to capture the beauty of the floating world as worthwhile.

Reflecting on this exchange from the present, Ono says that he cannot be sure that this was what Mori-san said. Indeed, it sounds like something he himself might have said while drinking at the Migi-Hidari with his students.

Ono returns to his account of his lunch with Ichiro at the department store. Ichiro pours spinach into his mouth as if it is a liquid and then sticks out his chest and punches the air. Ono asks if he is pretending to drink sake and then fight.Ichiro replies that he is pretending to be a great warrior, and then he pretends to decapitate Ono with a sweep of his arm.

Watching Ichiro, Ono reflects that his great-grandson's exuberance reminds him of his own headstrong approach to things when he was young. Yet Ono knows that Ichiro will likely grow out of this posturing as he gets older, just as Ono himself became more restrained. He wonders if this is always the way—if youthful brashness is inevitably replaced by a wiser but less inspired attitude.

After lunch, Ono takes Ichiro to the bathroom. In the bathroom mirror, Ono sees an old man looking back at him. He considers the truth that he will be dead in a few years and wonders what his remaining days are worth. This leads him to contemplate the worth of the little jobs he still takes on as a teacher or master, imparting knowledge to young people who may or may not find it useful. He decides that these endeavors are worthwhile and that there is still beauty to be found in his closing years, just as there was beauty for Mori-san and Kuroda as their lives came to an end.

As they are leaving the bathroom, Ono hears a skirmish and sees two men grappling on the floor outside the bathroom. He realizes one of them is his former pupil, Shintaro. The other man seems to be a stranger who has mistaken Shintaro for someone else. As Ono watches, Shintaro manages to pin the stranger down, glaring at him fiercely. In that moment, Ono recognizes in Shintaro's face one of his own characteristic gestures from years ago. This simultaneously amuses and saddens Ono—amuses him to see his own petty arrogance mirrored so clearly, but saddens him to realize that this arrogance is one of the chief things he has passed on to his pupils. 

THEMES 

Memory and Reflection: The protagonist, Ono, engages in introspection and reflects on his past, recalling memories and contemplating their accuracy and significance. Memory serves as a tool for understanding personal experiences and shaping one's perception of oneself and others.

Art and Ambition: The narrative explores the world of art, with Ono reminiscing about his time as a student under Mori-san and admiring the ambition of fellow artists like Akira Sugimura. Artistic pursuits, aspirations, and the influence of mentors are recurring themes.

Loyalty and Betrayal: The concept of loyalty is explored through the character of Sasaki, who is labeled a traitor, and Kuroda, who faces accusations of betrayal. Ono contemplates the repercussions of their actions and the impact of loyalty on relationships.

Influence and Legacy: Ono reflects on his role as a teacher and the influence he has had on his students. He contemplates the value of his impact and witnesses the transformation and success of some of his former students, recognizing the legacy he leaves behind.

Contradictions and Flaws: Setsuko's contradictory statements and Ono's own flaws are highlighted in the text. Ono finds both amusement and sadness in the recognition of his flaws by his students, emphasizing the complexity of human nature and the presence of contradictions within individuals.

These themes provide a foundation for exploring the narrative and understanding the deeper layers of the text. 

MORAL LESSONS

The Complexity of Memory: The text highlights the subjectivity and fallibility of memory. It reminds us to approach our own memories and the memories of others with humility and an understanding that they can be influenced by personal biases, time, and perspective.

The Value of Reflection and Self-Examination: Ono's introspection and contemplation of his own actions and influence emphasize the importance of self-reflection. It teaches us to critically assess our own behavior, motivations, and the impact we have on others, enabling personal growth and understanding.

The Impact of Loyalty and Betrayal: The text explores the consequences of loyalty and betrayal. It reminds us of the significance of staying true to our commitments and relationships, and the potential harm that betrayal can cause to individuals and communities.

The Influence of Mentors and Teachers: Ono's admiration for Mori-san and the impact of his teachings highlight the importance of mentors and teachers in shaping individuals' lives. It underscores the significance of guidance, knowledge sharing, and the responsibility that comes with being a mentor or educator.

Embracing Imperfections and Contradictions: The recognition of flaws and contradictions, both in oneself and others, encourages acceptance and empathy. It reminds us that everyone is complex and multi-dimensional, and that embracing imperfections is a part of being human.

The Passage of Time and Its Effects: The contemplation of time's passage underscores the transient nature of life and relationships. It encourages us to value and cherish the present, make the most of our time, and recognize the changes that occur over the years.

These moral lessons provide insights into navigating personal relationships, understanding oneself, and embracing the complexities of life. However, it's important to note that the interpretation of moral lessons may vary based on individual perspectives and experiences.

An Artist of the Floating World's November 1949 chapter analysis and summaries can be found here.