Masks Fumiko Enchi

● real name Fumi Ueda● born in 1905 in Tokyo, daughter of a prominent linguist /

philologist (scholar of languages / words)● mostly educated at home as a child because of ill health● developed a great interest in classical literature and theatre as a

young girl● Began writing career as a playwright; wrote fiction through the

latter half of her career. ● Awarded Person of Cultural Merit in 1979 (official Japanese honor

awarded to someone who has made significant cultural contributions to Japan) and Order of Culture (awarded to an artist by the Japanese government for significant contribution to the arts).

● Died in 1986● Few of her works have been translated into other languages

Author Bio

● tightly-woven plots, strong visual imagery and use of symbolism

● drawing themes and allusions (references) from theatre, The Tale of Genji, shamanism, otherworldly qualities

● general themes and concerns: gendered expectations in patriarchal and misogynist societies; spiritual possession and otherness; eroticisim of aging women; psychological twists, emotional or psychological depravity; revenge; family dynamics

Characteristics and Concerns of Writing

● mixes contemporary with classical Japanese literature● characters / plot / themes pulled from The Tale of Genji and the

“madwoman” masks of Nō (Noh) theatre● Through these devices, attempts to trace “the power women

still have over men”● Mieko, the mother-in-law and apparently “shamanistic”

character of the novel, weaves a web of deceit to exact revenge -- on who, or what, or for what, may be something we want to decide as readers.

● Three Noh masks form the structure of the book and depict different characters; they also depict three stages in the life of a woman. The Noh masks are deceptively simple images of the complex female emotions and experiences, leaving readers wondering what lays beneath the “masks” Mieko puts on herself.

Masks (1958)

● written shortly after the year 1000, in Japan’s Heian period

● Considered the world’s first true novel and definitely the world’s first psychological novel

● Incidentally, written by a woman (Murasaki Shikibu, a noblewoman)

● Narrative centers on the (largely amatory) exploits of Genji, the ''Shining Prince,'' an illegitimate son of the emperor whose staggering physical beauty and artistic prowess are such that even his enemies are moved by them. Despite his aesthetic perfections, Genji is no paragon of greatness, but he never forgets a single one of the women (or men) he romances, and he savors their various virtues with almost religious devotion. Between recounting his affairs, the narrative contains a wealth of Heian detail: the court's elaborate hierarchy, its calendar of rituals and festivals, its cultivation of painting and music and poetry.

The Tale of Genji

● a major form of classical Japanese musical drama that has been performed since the 14th century

● Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, children, and old people

● Several types of masks, in particular those for female roles, are designed so that slight adjustments in the position of the head can express a number of emotions such as fear or sadness due to the variance in lighting and the angle shown towards the audience.

● Each of the three sections of Masks is named after a mask used in Noh theatre

Noh Masks

● Refers to the Noh mask that Mieko, Yasuko, Ibuki, and Mikame view in the first section. They are visiting the home of the Yakushiji family, viewing an extensive collection of Noh masks and costumes. The Ryo no Onna mask is brought out at the insistence of the absent, infirm father of the family. The features of the Ryô No Onna mask includes: 1) a thin face from a woman who has suffered; 2) a mysterious expression; 3) a sudden look of tranquility; and 4) sunken cheeks symbolizing her grief and distress from being in hell.

● The Ryo no Onna mask embodies the vengeful spirit of an elder woman who has ultimately managed to escape the underworld. It may represent Mieko at the outset of the novel (revealing what we may not yet know).

First Section: Ryo no Onna

● Characterized as a young deranged woman, the Masugami mask has tangled hair that resembles a woman suffering from a frail and troubled mind. This mask is described by its intense features: 1) dimples on the forehead and cheeks; 2) tension surrounding the eyes, nose and mouth; 3) creases near the brow; 4) a forced and tight smile; and 5) loose hair covering the silhouette of the face.

● Throughout the latter part of the second section, after making love to Yasuko, Ibuki encounters the mask of Masugami. What is presumably thought as Yasuko, is actually Harumé. Although Ibuki claims to have seen the mask, it is suggested that Harumé’s face closely resembles Masugami.

Second Section: Masugami

● This mask is a representation of a middle-aged woman, specifically mothers who have lost a loved one. The name Fukai can be interpreted in two ways: the first as “deep well,” and the latter as “deep woman.” The features in the face suggest a sense of emotional maturity; these are representations of women who have suffered and developed a clear understanding of the inevitabilities of death. Her features include: 1) crevices along the lower part of her cheeks; 2) deep eyes with heavy eyelids; 3) tempered lips; and 4) a concave silhouette because of her protruding forehead and chin.

● Of all the masks that appear throughout the novel, Mieko identifies most with Fukai; she has lost both of her children

Third Section: Fukai

● What is the exact nature of the relationship between Yasuko and Mieko (daughter-in-law and mother, ostensibly, but what about symbolically)? Is it a mutual relationship -- or is Yasuko being controlled by Mieko? How / why?

● How / why is sexuality used by the women in the novel? To

further what ends? How might this be related to power and gender?

● What are the correlations between the Noh masks and the themes, symbolism, or characters in each section of the novel?

● Although this is a very different novel than those we’ve read previously, what comparisons can you draw between this and others? Any?

Questions