Goriot, Book III: An Introduction to Society

Rastignac with Vautrin

Book III of Old Man Goriot accounts Restignac's dive into society after his failed attempt to become part of the Parisian upper class as it consistently shows his alternating focus between his own virtues and the necessity of money in this superficial society. Beginning with his mother's letter him stating that she has sent him money - at the cost of her jewelry and his sisters's allowances - Restignac frequently changes loyalties between his own morals and his conflicting desire for wealth and recognition. Restignac only falls deeper into the temptations of darker sides of wealth once Vautrin proposes that he marry the heiress Victorine, where Vautrin will then have her brother killed in a duel, allowing Restignac to obtain her fortune. While against the idea, Restignac slowly takes Vautrin's words to heart. Furthermore, when attempting to win over Goriot's daughter, Delphine, to obtain wealth from her banker husband, he begins to delve into the new dangers of gambling.

With the plot of Goriot beginning to slowly unfold, through Restignac, Balzac emphasizes the polar conflict between good and evil seen in many melodramas, only in the form of virtue versus vanity. When receiving the letter stating that his mother had to sell all her jewelry to send him the money, he is remorseful; he wanted "to turn his back on society, he wanted to refuse the money" (86). However, once reading his sister's more enthusiastic letter, while also thinking about how much money he had received, this remorse quickly dissipates, as "the last of the poor Southerner's doubts was dispelled" after the realizes the "fifteen hundred francs and as many clothes as he could wear"(89). Despite leaning more heavily towards the temptations of wealth, Restignac shows his inner conflict between money and morals through his feelings of frequent, albeit short-lived, feelings of regret.

Moreover, the dramatic actions of Vautrin and Goriot reflect this recurring conflict between wealth and morality while also displaying the melodramatic theme of extreme dramatization. Not only is Vautrin's evaluation of Restignac's insecurities and inner conflicts verbose - spanning almost 6 pages - but his plan to have Victorine's brother killed in a duel so Restignac can obtain her fortune is cruel yet fairly complex; it serves to display Vautrin's dramatic expression while also showcasing the "dark" side of Restignac's conflict. Even though he does not accept the plan wholeheartedly, the complexity of the plan, in addition to Vautrin's deep understanding of Restignac's plight, causes Restignac to accept the sinister plan, thus further corrupting his own morals. On the other hand, Goriot's exaggerated love towards his daughters allows Restignac to occasionally revert to following his own virtues. and show kindness to Goriot, even if this kindness is sometimes based on Restignac's desire for money from his daughters. After going against his own ethics and gambling for Delphine, he gives his remaining 1,000 francs to Goriot instead of keeping it for himself, showing his reverting back to morality, albeit briefly.

                                          Goriot, Book IV

          The hardships of this tragedy for Eugène and those that surround him continue to escalate in this area of the novel. After attending the ball with Delphine and spending lavishly on items to propel him higher into the aristocratic Parisian society, Eugène finds himself in debt. He occasionally gambles to ward some of it off, but still falls short. Under the pressure to provide for himself and Delphine outside of Goriot’s generous and self-sacrificing contributions, the voice of temptation rises through Vautrin. Vautrin wishes to call Victorine’s brother to a duel, so that when he dies the money will go to her, as well as Eugène—if he marries her.

          Vautrin’s sinister proposal ushers forth a series of moral dualisms that often take form in melodramatic genres. Several of them arise when Eugène struggles with Vautrin’s temptation. The first dualism present is materialism versus moral values. For Vautrin suggests to Eugène quick money at the expense of doing things ethically incorrect to achieve it. 

“You would be a fine haul for the devil! I like youngsters of your sort. Get rid of one or two more prejudices, and you will see the world as it is.” (90) 

          On the other hand Eugène believes in a more gradual, hard-working attitude towards building status, while “keeping his prejudices”. Eugène faces both extremes and must decide how far he will go to reach material and social superiority.

          Much of his struggles relate to the historical time he exists in—the Bourbon Restoration. After Napoleon lost power in the late 18^th century, the economic status of French society was in flux with the shift of power back to a monarchy. With economic instability came social mobility, allowing many people of non-noble statuses to become aristocratic. As a result of such fluidity, lower class people like Eugène found opportunity to rise. Therefore he faces much pressure to climb the social ladder by his family, and through his hardships demonstrates the author’s pessimistic attitude towards such climbing.

          The second dualism Eugène faces is materialism versus love. Victorine’s dowry provides a larger amount of money than that of Delphine’s. Eugène does slip slightly into Vautrin’s temptation as he begins courting Victorine, but that does not last. Once he is assured that his love for Delphine is mutual, he springs himself into passion for her only, as well as having tender care for Goriot.

Goriot, Book II: The Enchantment of High Society

            Book II opens with starry-eyed Eugene de Rastignac, charmed by the possibilities of Paris to become a member of the elite. However, he is lost in his thoughts on the way to meet the haughty Madame de Restaud and splashes in some mud. This perhaps foreshadowing encounter and metaphors this chapter's theme of what starts off as a nice pair of shiny boots, but soon acquires a mud stained surface.

            The following scene at Madame de Restaud presents Restignac with a somewhat disillusioned wake up call. He does not fit in at all, and the others use it to mock him. The student envies the elegant Maxime so much to mentally comment on his polished mud-free boots, thus enforcing this contrast of social status. The conversation of the room is reminiscent of the likes of Pride & Prejudice, the underlying tensions between classes concealed (or not) by witty comments of the one trying to outdo or impress the other. Unlike Elizabeth Bennett though, Restignac fails at this completely. His blunder of calling Goriot by his nickname proves fatal as he is basically kicked out of Madame Restaud’s house. Nonetheless, he is enchanted by Maxime’s natural talent of charming women and hopes to one day “to reign supreme over such an eminently Parisian woman” (56).

            Restignac retreats for mentoring from his cousin, Madame de Beauseant, in the ways of high society. This scene also features the gossip and strategic play of talk as shown previously. Beauseant gives Restignac his first piece of advice: “if you wish to succeed, you must learn to hide your feelings,” which she proceeds to do as her 'friend' arrives and blurts out how her lover with is going to marry some other woman (66). Then she teaches him a lesson when recounting Goriot’s story: women are unforgiving. They will take your money and leave you to ruin, just as Goriot’s daughters did to him. This section shows the unapologetic realism of the novel that borders on cynicism. The only way to succeed in this world to play the game (similar to the moral of Game of Thrones) – be a vain man, Beauseant tells Rastignac, and women will fall for you.

            Back at the boarding house, Vautrin mocks Rastignac for his resolve to penetrate the high society. But Rastignac spits back at him and defends Goriot, as we know he is now trying to get with one of his daughters. Rastignac retreats back to his room to write to his family, asking them to give him all their money for his cause. The rest of the chapter ends with more Goriot back-story.

            This chapter starts to illustrate Rastignac’s disillusionment with the glittering surface of high society and his fall into knowledge. He is corrupted by the fashion and elegance of Maxime and further pushed by Beauseant. He is enticed by the power and influence of money which changes his moral values. Vautrin also reinforces the feeling of inadequacy and smallness he felt from his blunder at the Restauds’ -- something Rastignac never wants to feel again. In addition, upon learning Goriot’s story, Rastignac is given evidence of a future in where he fails at playing by these rules. Thus, Rastignac resolves to the immoral, pushing back his studies and asks his already struggling family for money to basically attempt to become a pimp. And through these letters, he sees himself noble that his sisters and mother will advance his success! Balzac certainly does not hold back on illustrating the cynical realism of the novel, where even the purest, innocent man will eventually fall to being a con artist.

Broken Blossoms (1919)

Broken Blossoms (1919)

This silent, black and white film portrays the journey of an Asian man (played by a Caucasian actor) to spread Buddhism. Along the way, he encounters Lucy, a young girl, who is consistently abused emotionally and physically by her father. Despite his assistance, he is unable to safeguard her from the victimization, which tragically results in her untimely death. In the final scene, he builds a shrine next to the girl’s lifeless body, before he pays respect to the Buddha statue.   My reactions towards the movie’s several scenes bordered between admiration and dislike. On the one hand, I was quite impressed by the professional, artistic cinematography and the various compositions, which undoubtedly render Broken Blossoms a masterpiece; while on the other, I couldn’t help but felt a sense of anger towards the character of Lucy’s father who regularly beats and scolds her. Hence, the overall impression was that this film lives up to the definitions of “melodrama” which typically displays an exaggeration in one’s emotional state or a facial expression. For instance, Lucy’s forced smile is plainly exaggerated through her use of two fingers to stretch her lips sideways to create the fake look. The smile alone contains several messages; and one is that it indicates how unfairly she must conceal her pains and miseries from the world, even up until her moment of demise. Another interpretation is that the smile conveys the father’s malicious intention, as he views her grin as a sign of submission to his erratic behavior, which allows him to continue abusing her. Thus the combination between appreciating the movie as a melodramatic art form, and as an account of the girl’s struggles against domestic violence explain my mixed impression for the film.    

Another crucial point is that the role of the “Yellow Man” is played by a white actor who, despite wearing traditional Chinese attire, still looks quite Western. Personally, the oriental element is represented mostly through the references to Buddhism, such as the words, the temple, and the statue itself. However, aside from the religious realm, the plot and storylines still quite resonate with typical Western ideals, which also include the heroism of an individual, as opposed to that of a collective group.

The final remark is the incorporation of music, which, given that this is a black/ white film, eminently enhances the appreciation of Broken Blossoms in its most melodramatic lights.  

The Gold Demon: Book One: Miya

At first glance, The Gold Demon by Ozaki Kouyou seems to fulfill many of the melodramatic stereotypes. Miya, the beautiful girl who comes from a non-prominent family with aspirations of a higher status. Tomiyama, the rich villain who steals Miya away with the promise of making her dreams come true. Kanichi, the poor student who is in love with the girl and fails to get her. What made Golden Demons incredibly popular when it was first released was how the author plays with the archetypes.

One example of playing with archetypes is with the character Miya, who is the epitome of a cold beauty especially since she is described as her love is half of what Kanichi's love for her. The author paints her as a great physical beauty that even her modest clothing does not dim her light. She is given depth when she had realized that her beauty is the only tool she can use to advance through thorugh society. She carefully considers each proposal she has received and where she will be if she marries that person. In a Jane Austen-like manner, marriage and money are what dominates her motives. Although she is not completely heartless as she feels guilt for breaking off her engagement to Kanichi by allowing her parents to deal the fatal blow to his aspirations. She is keenly aware of what she is giving up by marrying Tomiyama.

Unlike Namiko whose marriage was arranged with little input from her, Miya is given agency in that she has the option of saying no to Tomiyama's proposal. Her parents are happy with whatever she decides on marrying. However, it's inevitable that she does not because Kanichi can not provide what she want and gives into money's alluring power. Kanichi berates her for leading him on and forsakes her, but he does not understand her actions nor share the same concerns as she shares. As a man, he could move up in the world by using his intelligence and merit. Miya only has one chance to move up in the world, and she is determined not to waste it. Miya is the center point where the timeless melodramatic theme of money vs. love fight over, which why people are drawn into the story despite the predictability.

Golden Demon金色夜叉 (Book II)

After the fight with Miya at Atami, our protagonist Kwanichi not only disappeared from Miya’s vision but also from the readers’ for a while. Instead of writing about neither Kwanichi nor Miya, Ozaki Koyo (尾崎 紅葉) chose to open Book II with a group of students boarding the train.

 Kwanichi remained in the shadow for several chapters, and we, as readers, only heard some rumor about him. Koyo writes:

“Oh! Who was it said that he was now a usurer’s clerk or something of that kind,” said another.
“Yes, yes,” laughed Kamata, “there was some such rumor, but I am sure Hazama would never make a usurer: he is too soft-hearted.”
“It is very strange,” said Arao, “but I feel sure I saw Hazama at the station. I am almost sure it was Hazama.”
“Humph, that’s strange! Did he not recognize you?”
“I saw him first at the entrance to the waiting room, and being surprised, I rose from the sofa where I was sitting; but he instantly disappeared: then, after a while, I looked round and saw him again.”
“Quite a detective story” said Amakasu.
“The moment he saw me get up,” continued Arao, “he vanished again. Then, as I walked down the platform I looked back, and saw someone waving his black hat to me. And I am sure it was Hazama.” (103-105)

As Amakasu said, “Quite a detective story”. As the group of students started gossiping about Kwanichi, the readers’ curiosity grew. Did he really become a usurer’s clerk? Did he really appear at the station? By indirectly writing about Kwanichi, Koyo also reminded the readers the protagonist’s “soft-hearted” temperament.

When Kwanichi reappeared, he became a person who “have placed all his hopes on money”. He says to Mitsue: “I have no more thoughts of love and honor. Money is the most reliable thing in the world. The heart of friends may change: money never does” (123). What a contrast with the “soft-hearted” image we had in our mind! Due to the plot structure, Kwanichi’s change has been dramatized.

The scene which Kwanichi and Miya met at the Viscount’s house was also very melodramatic.

Koyo Writes:

"Miya was on the point of turning when she suddenly thought that if she met Kwanichi in this narrow lane, there would be no possible means of avoiding meeting him face to face: she would not mind that if she were alone, but the thought of Shizuo’s sharp eyes watching her was intolerable…She broke out in a cold perspiration at the thought of the possible rencontre, and asked Shizuo if there was a side lane into which they might go. But the reply was “no.”… but alas! A figure appeared and there was no hope of avoiding the meeting " (160-161).                                       

The meet was inevitable. Visiting the Viscount’s house on the same day, running into each other on a narrow lane which there’s no way to avoid face to face meeting. What a coincidence! In Book II, this is the first time that Miya appeared, and of course, she met her beloved Kwanichi melodramatically.                    

Hototogisu, discuss a Japanese language passage from first half

Hototogisu, discuss a Japanese language passage from first half

       Hototogisu(不如帰) is a Japanese novel written by Tokutomi Roka. It’s a tragic story of Namiko and her husband Takeo.

       The atmosphere of this novel is sad. The conflict in family, the war between Qing Dynasty and Japan, the sickness and separation creates a tragic air. We can just find several happy fragments in this novel. The marriage is one of those fragments.

       The marriage can establish a family, actually this is a small family. When the author focus on the small family, we can feel a happy atmosphere. In Japanese, the small family is termed as “ie”. In the start of second volume, I can find this fragment in Japanese.

       「あなた、お疲れ遊ばしたでしょう」

　葉巻の青き煙けぶりを吹きつつ、今日到来せし年賀状名刺など見てありし武男はふり仰ぎて、

「浪さんこそくたびれたろう、――おおきれい」

「？」

「美しい花嫁様という事さ」

「まあ、いや――あんな言ことを」

　さと顔打ちあかめて、ランプの光まぶしげに、目をそらしたる、常には蒼あおきまで白き顔色いろの、今ぼうっと桜色ににおいて、艶々つやつやとした丸髷まるまげさながら鏡と照りつ。浪に千鳥の裾模様、黒襲くろがさねに白茶七糸しらちゃしゅちんの丸帯、碧玉へきぎょくを刻みし勿忘草フォルゲットミイノットの襟えりどめ、（このたび武男が米国より持もて来たりしなり）四分ぶの羞はじ六分ぶの笑えみを含みて、嫣然えんぜんとして燈光あかりのうちに立つ姿を、わが妻ながらいみじと武男は思えるなり。

「本当に浪さんがこう着物をかえていると、まだ昨日きのう来た花嫁のように思うよ」

「あんな言ことを――そんなことをおっしゃると往いってしまいますから」

「ははははもう言わない言わない。そう逃げんでもいいじゃないか」

「ほほほ、ちょっと着がえをいたしてまいりますよ」

          From this paragraph, obviously, we can find Namiko is an open and cheerful girl. She is beautiful and virtuous.  This conversation can reflect she likes laughing. From the words “ほほほ”, “笑”, “羞”, “嫣然”, we can find Namiko is so cute and shy. Through describing clothes and decorations in their marriage room, I can feel their happiness and love. However, in contrast, the “ie” has a major difference with the whole tragic background. In Ito’s article, he also points this is a potential conflict. “As the novel begins, the emphasis is upon a man and a woman who care about each other, spending time together in a pastoral topos far from the social obligations of the city.” Compared with outward conflicts and war, the happy “ie” seems more valuable, but it is also a hint of this bad ending. I think it is also a topic of melodrama. When the love faces danger and threat from the society and the bigger family, the caused intense conflict maybe destroys everything.

Double Suicide

Double Suicide 

The movie Double Suicide is an adaptation of a bunraku play called The Love Suicides at Amijima by Chikamatsu Monzaemon. Bunraku is a traditional puppet play and the director, Masahiro Shinoda, creatively gives nods the origin of the play by having puppets appear at the beginning and a person, presumably the director, describing how he wants the graveyard scene to go. The movie initially starts out with puppets and soon is replaced by live people, mixing both traditional and modern media. The story is about Jihei, a poor paper merchant who destroys his family as he pursues his doom love for Kohaku, a courtesan. 

The movie is a follows the story faithfully with having people dressed in traditional all-black stage hands to demonstrates some of the stage direction in play like when his wife, Otosan, starts taking out all the clothes for Jihei, her husband, to sell for money to redeem Kohaku. However, the Chanter, the Japanese equivalent of the Greek chorus, paints a much more romantic scene than portrayed in the film. 

Chanter: Her encouragement lends him strength; the invocations to Amida carried by the wind urge a final prayer. Namu Amida Butsu. He thrust the savage sword. Stabbed she falls backward, despite his staying hand, and struggles in terrible pain... Her life fades away like an unfinished dream at dawning. He arranges her body with her head to the north, face to the west, lying on her right side, and throws his cloak over her. He turns away, at last,  unable to exhaust with tears his grief over parting.... "Believers and unbelievers will equally share in the divine grace," the voices proclaim, and at the final words, Jihei jumps from the sluice gate. 

The movie makes their death seem ugly and unromantic. Kohaku repeatedly says that she does not want to die. The fatal wound is ugly and grotesque. The movie ends with fisherman finding their bodies; while the play ends with the story spreading and how romantic the act of double suicide.   Another interesting note is that the same actress both play wife and doomed love interest, so metaphorically she represents the two forces that tug at Jihei: Duty, represented by Otosan, and Passion, represented by Kohaku. It's not only physical beauty that draws Jihei to Kohaku, but what she represents to him and ultimately what ends up destroying him. 

Hototogisu, be written as 不如帰 (1st third)

Hototogisu

The Hototogisu is the masterpiece of Tokutomi Roka, one of the most famous Japanese novelists. While the English translation uses the heroine’s name, Nami-ko, as its title, in Japan, the title Hototogisu is written 不如帰 (Fujyoki, which means would better come home).

This name comes from a traditional Chinese legend story of one emperor who has no ability to save his people but eagerly wants to do that. After the other person saves his country and his people, the emperor gives his throne to this man and leaves his own country. He dies someplace, but none knows, and his soul becomes a cuckoo bird and tells people to care about their farmland every year. However, every time the cuckoo sounds its alarm, it spits out blood. Because of that, the cuckoo is always connected to sorrow and regret around Asian-culture based countries, including China and Japan.

While the English version omits too many details, I read the original Japanese version. In the first third of the story of a pitiful new-married girl Nami-ko, every character appears with their specific and exaggerated characteristics, her father who loves her so much but uses his method of balance; her husband who also loves her but cares nothing about people around their lives; her step-mother who hates her due to the jealous and prejudice; her brother-in-law who wants to marry her at first for higher status and military rank.

“上州(じょうしゅう)伊香保千明(いかほちぎら)の三階の障子(しょうじ)開きて、夕景色(ゆうげしき)をながむる婦人。年は十八九。品よき丸髷(まげ)に結いて、草色の紐(ひも)つけし小紋縮緬(こもんちりめん)の被布(ひふ)を着たり。
色白の細面(ほそおもて)、眉(まゆ)の間(あわい)ややせまりて、頬(ほお)のあたりの肉寒げなるが、疵(きず)といわば疵なれど、瘠形(やさがた)のすらりとしおらしき人品(ひとがら)。これや北風(ほくふう)に一輪勁(つよ)きを誇る梅花にあらず、また霞(かすみ)の春に蝴蝶(こちょう)と化けて飛ぶ桜の花にもあらで、夏の夕やみにほのかににおう月見草、と品定めもしつべき婦人。”

At the beginning of the whole story, Tokutomi describes this beautiful madam waiting for her returning husband, and starts by depicting her melancholy emotion in order to foreshadow their tragic fate after these peaceful honeymoon days.

Beyond the omniscient viewpoint, readers can see how people who are cherished by Namiko and her husband are planning to ruin their newly-married life to fulfill their selfish desire and personal prejudice. By reading those dramatic plots and their exaggerated emotional changes, readers will feel nervous about the innocent and powerless heroine, Namiko.

Among all those characters who only consider of themselves, Namiko looks selfless and polite to everyone, even to someone who had or tried to hurt her.


Japanese Version: http://www.aozora.gr.jp/cards/000280/files/1706_44742.html