Film Screening: The Birthday Party

Worksheet: The Birthday Party

This Worksheet is based on movie screening of the play "The Birthday Party" by 2005 Nobel Laureate Harold Pinter. We have watched 1968 adaptation of the play The Birthday Party, directed by William Friedkin as part of our syllabus. As a part of our thinking task we have been given pre-viewing, while-viewing and post-viewing of the screenplay 'The Birthday Party'. Click here for teacher's blog

Harold Pinter

Harold Pinter, who passed away at 78, was a very important and thought-provoking playwright of his time. Besides being a playwright, he also worked as an actor, screenwriter, and director. He was also active in politics, but he will be most remembered for his plays, where he turned everyday speech into dramatic poetry. In 2005, he received the Nobel Prize in Literature.

Harold Pinter was born in the Hackney area of London to a Jewish family. His grandparents, who were Ashkenazi Jews, had escaped persecution in Poland and Odessa. Understanding Harold Pinter's personality wasn't hard, as one could see aspects from both sides of his family. He combined his father's strong determination with his mother's natural kindness. His upbringing, marked by certain conditions, led to him feeling a sense of loneliness, detachment, and sorrow an ideal environment for someone destined to become a playwright.

Harold Pinter was an avid reader, going through the works of Dostoyevsky, Kafka, Eliot, Lawrence, Woolf, and Hemingway. He was at the heart of a smart group in Hackney, and they stayed close throughout their lives. Pinter was also inspired by a teacher, Joe Brearley, who had a strong passion for poetry and drama and fueled Pinter's imagination.

Pinter stands out among the playwrights of his time because his work has lasted so well. He's also one of the few writers who significantly influenced the way people write. For example, he got rid of the idea that the narrator knows everything about the characters. After plays like The Birthday Party and The Caretaker, it wasn't necessary for narrators to know everything about the characters' past or future.

Harold Pinter faced some sad moments in his life, but his marriage to Fraser brought him a lot of happiness. She is still alive, along with his son Daniel from his first marriage. Despite his anger about unfairness and ongoing health issues, his later years were filled with joy.

Pinter was a unique figure in the theater world, someone we probably won't come across again. He was a playwright, actor, and director, deeply involved in every aspect of theater – all while nurturing his personal vision of the universe. Ultimately, that was his greatest accomplishment.

His Plays

Pinter's plays have established himself as a key practitioner of the Theatre of Absurd, and his most famous play The Birthday Party is commonly cited example of Comedy of Menace. His plays are marked by uncertainty in their storylines, character depictions, and conclusions, yet they possess unquestionable strength and uniqueness.

In Pinter's plays, conversations play a crucial role and are likely the reason behind his unique style. His characters engage in everyday, peculiar, and often ambiguous speech, known as "Pinteresque," which is filled with disjointed exchanges and meaningful pauses. Through the characters' words, hesitations, and silences, we see their struggles in connecting with others, exposing their sense of isolation. Even seemingly simple statements carry various layers of meaning.

Comedy of Menace

The term Comedy of Menace used to describe the works of David Crompton and Harold Pinter, and this term was coined by critic Irwin Wardle, taken from David Crompton's play The Lunatic View: A Comedy of Menace. Basically a Comedy of Menace is a tragi-comedy. Superficially it seems as a simple comedy but the comedy has a deep layer of meaning and various interpretation, involving tragedy of characters. There is sense of violation within the comedy, whether verbal or physical. The play keeps us entertained, but at the same time, it keeps us teetering on the edge of fear.

Characteristics of Comedy of Menace 

• Tragedy with comic elements 
• Indefinable and vague fear 
• Sense of terror
• Ominous and surreal setting 
• Uneasy feeling yet laughing and smiling
• Usually set in one room 
• High comic level to deep seriousness
• Violence

Pinteresque

Pinter has used distinctive style of writing, which come to be known as Pinteresque. In which he made us of silence, also known as Pinter's pause, in his plays there is one elements is common and that is pause in between ongoing conversion of characters, and this silence is more significant and symbolic than what is spoken. For Pinter silence is the best medium for communication, in his plays Pinter uses the miscommunication of characters to add more layer of ambiguity and terror effect. Pinter uses colloquial language and over lapping dialogues.  

The Birthday Party: An Artist in Exile

The Birthday Party has many interpretation and contextual meanings, one of them is about Stanley Webber. We can consider Stanley Webber as a a piano artist, because in the play as well as in the movie, he gave some references of him being an artist in the past during his conversation with Meg, and said that he had hold many piano concerts in his past throughout the Europe. May be we can see him as an artist who came in in the boarding to spent some time alone, and practicing his art. On the other hand, the character like McCann and Goldberg can be considered as fanatic fans, who came to meet his favorite artist Stanley Webber, and forcefully took him away with them. 

The Birthday Party as Political Allegory

Harold Pinter's Nobel lecture provides a useful lens to view his play 'The Birthday Party' as a politically charged work that challenges widely accepted narratives propagated by those in power. Pinter emphasizes the role of art and drama in exploring multiple, competing "truths" that often contradict the single truth promoted by politicians and powerful entities to maintain their control over society. In The Birthday Party, the contrasting perspectives of characters like the vulnerable Stanley and the domineering Goldberg and McCann represent this clash between individual perceptions of reality and the enforced reality of powerful groups. 

Pinter condemns acts of violence, torture, and human rights abuses carried out by governments under the guise of establishing order and freedom. The brutal treatment of Stanley by Goldberg and McCann can be seen as a metaphor for such inhumane actions sanctioned by the powerful. The play's claustrophobic setting and unpredictable power dynamics mirror Pinter's idea of drama being set in "an enclosed space" where people are "at the mercy of each other," reflecting the vulnerability of individuals against overpowering political forces. Ultimately, The Birthday Party aligns with Pinter's belief in the writer's role to confront and expose deeper truths that are obscured by self-serving power structures in society through compelling works of art. (Pinter)

While - Viewing Tasks

Harriet Deer and Irving Deer on Pinter's "The Birthday Party", The Film and The Play

In this article Deer and Deer both argues that, in both movie and the play of The Birthday Party, dialogues remains the same, because the movie also is written and directed by Harold Pinter. There are some dialogues which are slightly different, but it is covered by the cinematic medium. Pinter also used camera positioning to highlight menacing effects of the play, which in the play narrated through many words. 

The film opens with an unsettling sequence of distorted visuals and unsettling sounds, setting an ominous and surreal tone of the movie. Pinter magnifies the trivial details and squalid living conditions through extreme close-ups frames, making the domestic environment seem more menacing. Camera angles and editing techniques enhance the sense of threat posed by Goldberg and McCann towards the vulnerable Stanley.

During the bizarre birthday party scene, even inanimate objects like furniture take on a volitional quality, actively working against Stanley. The final blackout sequence visually represents Stanley's descent into madness and loss of humanity in a more visceral way than the play. The concluding exterior shots show a sterile, lifeless suburban landscape, implying the total dehumanization of society.

Overall, the authors argue Pinter exploits the expressive capabilities of film to render the terrifying, absurd world of the play in starker, more nightmarish visual terms that amplify the work's themes of alienation and dehumanization. (Deer and Deer)

Pinter's use of Texture 

• In the play, the sense of emptiness and menace stems primarily from the dialogue, like Meg's inane chatter and tenacious small talk.
• In the film, Pinter creates a sense of emptiness and menace more through visuals and sounds - magnifying and distorting the trivial objects and noises of the domestic environment.
• Camera angles, extreme close-ups, and distorted visuals of mundane objects like plates and furniture make them seem grotesque and threatening.
• Loud, grating sound effects like scraping and tearing amplify the menacing atmosphere.
• The overall effect is that the trivial textures of daily life - sights, sounds, objects - take on an ominous, surreal quality in the film that is not as present in the play's text.

"Texture" - Sound and Sight 

Pinter deliberately uses cinematic techniques and close-up frames to present the audience with the raw "texture", the sights and sounds

• The opening car sequence shows distorted, disjointed visuals and sounds with no clear narrative purpose, establishing a sense of a meaningless, unstructured world from the outset.
• The amplified mundane sounds like scraping plates and tearing newspapers take on an ominous, almost surreal quality disconnected from reality.
• The extreme close-ups on decaying objects and settings like the dirty kitchen render the texture of this squalid environment in meticulous, unsettling detail.
• Even the camera movements and angles at times seem untethered from conventionally motivated cinematic language.

In the the movie, approximately three or four times knocking at the door happens, which contributes to the overall menacing and threatening effect in the movie. Moreover, Pinter cleverly used the elements of  silence and pause, and close up of the camera angle adds menacing layer to the overall narrative of the movie. In the opening scene of the Act 2, we see McCann take a pause and make newspaper strips, which technically could symbolize Stanley's situation in the house while they both are in the boarding house. Pauses and silences in the narrative also highlights the inner struggle of the character of the characters of the well, much of the communication between characters happens through silence, moreover, we can se silence as a communication gap as well in the narrative. 

Symbols

Mirror: The character of  Meg is associate with the mirror. Whenever she went to the upstairs to wake-up Stanley, she looks in the mirror to check, whether she looks good or not. At the dinner table when Stanley refers Meg as a sacculant, she once again looks in the mirror. This way mirror is an important symbol between Meg and Stanley's relationship. 

Toy Drum: The broken drum stands for Stanley's broken past and his broken future. Stanley's beating his drum also contributes to the menacing effect in the movie. It also represent Stanley's childlike regression and disconnection from the real world. It also represents the corruption of innocence. 

Newspaper: It symbolizes the coherent or meaninglessness of the situation in which characters are trapped in. It represents the Stanley's situation and dominance of McCann and Goldberg over Stanley. 

Chairs: Dining table as whole can be seen as disturbing for the all characters except Petey. No one can sit relax on the chairs, everyone who sits on the chair seems to be grappled with inner struggle with themselves. MaCcann sits on the chair while striping newspaper.   

Post - Viewing Tasks

 Why two scenes of Lulu omitted from the movie?

The omission of two scenes involving Lulu in "The Birthday Party" movie may be attributed to pacing, narrative focus, and thematic coherence. Filmmakers often streamline the story and prioritize key plot points, cutting scenes deemed unnecessary or lacking in significance to the overall arc. Constraints like time and budget can also influence scene selection. Ultimately, such decisions aim to enhance the viewing experience and align with the filmmaker's vision for the adaptation.

Is movie successful in giving us the effect of menace? Where you able to feel it while reading the text?

The movie is very much successful in providing the menacing effect of the play. Form the beginning of the movie nonsensical sounds from the kitchen and plates suggests the mysterious and ominous tone of movie. Much of the conversion between Meg and Stanley is also one of the contributing factor in giving menacing effects to the movie. Through these unnecessary sounds Pinter conveyed his message about the absurdity of the play, and its importance in the life as well. The arrival of the two strangers Goldberg and McCann is seen as menacing and visibly shakes Stanley, indicating an underlying threat or menace associated with their presence.  McCann's violent behavior like cutting paper strips and warning Stanley to stay away, as well as delivering a physical blow to Stanley, conveys a sense of menace. Goldberg is portrayed as an authoritative and manipulative figure who menacingly threatens Petey, adding to the aura of menace. 

The interrogation scene where Stanley is bombarded with questions like why he betrayed the organization is seen as a menacing verbal attack aimed at annihilating his identity. Stanley's forceful "birthday party" where he is reduced to an animal-like state making guttural sounds is interpreted as the ultimate menacing act representing the dissolution of his individual self by oppressive forces. The use of oblique, menacing language like clichés, pauses, and repetitions in the dialogues creates an underlying sense of menace and intrigue throughout the play.

The elements of violence, both physical and psychological, the presence of mysterious menacing characters like McCann and Goldberg, and their manipulative and threatening use of language contribute to an overarching aura of menace in the play.

Do you feel the effect of lurking danger while viewing the movie? Where you able to feel the same while reading the text

There are several incidents in the movie that convey a sense of danger through the characters' language, behavior, sounds, tone, and ongoing action. The first instance occurs when the two uninvited guests, McCann and Goldberg, arrive at the boarding house uncertain if they are in the right place. The threat intensifies when Meg and Petey offer them accommodation without knowing their true identity. Stanley's rapid drumming also adds to the danger. Additionally, Goldberg's authoritative and cold demeanor towards Meg and Lulu further contributes to the overall theme of danger in the movie.

The entire interrogation scene is absurd yet dangerous, depicting violence between McCann and Stanley. Both McCann and Goldberg overpower Stanley, rendering him helpless. The scene where the newspaper is stripped also contributes to the dangerous atmosphere of the movie. The scene of birthday party is one of the most threatening scene, during this time screen goes completely blank, and we don't know who raped Lulu while lights are cut off. 

Pinter's artistic methods in writing  "The Birthday Party" are intentionally aimed at evoking a tangible atmosphere of imminent threat, psychological unease, and a disquieting aura of mystery surrounding the characters and circumstances.

What do you read in 'newspaper' in the movie? Petey is reading newspaper to Meg, it torn into pieces by McCain, pieces are hidden by Petey in last scene

The newspaper is closely associated with the characters of Petey and McCann. Petey spends much of the movie reading the newspaper and having breakfast, possibly using it as a means to escape the absurdities of life. He appears disconnected from the outside world and indifferent even to Meg. McCann tearing the newspaper into strips may symbolize his inner conflict with his job and the situation involving Stanley.

Camera is positioned over the head of McCain when he is playing Blind Man's Buff and is positioned at the top with a view of room like a cage (trap) when Stanley is playing it. What interpretations can you give to these positioning of camera?

This overhead camera angle could represent the menacing, overpowering presence of characters like McCann and Goldberg as they psychologically torment and entrap Stanley. The overhead view depicts their dominating, oppressive stance over Stanley. The bird's eye view camera angle resembling Stanley trapped in a cage aligns with the "room" being a symbolic space of enclosure, deceit and confinement for Pinter's characters. It visually reinforces the idea of Stanley being trapped and cornered, with no means of escape from the menacing forces closing in on him, represented by the cage-like framing.

"Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of one another and pretense crumbles." (Pinter, Art, Truth & Politics: Excerpts from the 2005 Nobel Lecture). Does this happen in the movie?

The majority of the film takes place within the confining setting of the boarding house of Meg and Patey, creating a dangerous, inescapable atmosphere for the characters, much like the confinement of Pinter's plays. The dialogues are full of non-sensical elements, and characters talking at cross-purposes in an unsettling, unpredictable way. There are long pauses and an underlying menace, accurately reflecting Pinter's use of ambiguous conversation. The power dynamics constantly shift, with Stanley being psychologically dominated by Goldberg and McCann through their intimidating presence and manipulative language. Stanley's attempts to cling to his identity and memories gradually break down as Goldberg and McCann's interrogations become more aggressive, leaving him a broken at the end. 

How does viewing movie help in better understanding of the play ‘The Birthday Party’ with its typical characteristics (like painteresque, pause, silence, menace, lurking danger)?

The movie helps us to understands certain aspects of the play that may not be easily grasped through reading alone. Visuals can enhance comprehension of complex literary texts, such as conveying the menacing and dangerous effects of certain characters. Personally, I gained a deeper understanding of Goldberg's character while watching the movie, observing his use of manipulative language, his coldness, behavior, and relationships with his companion McCann and other characters.

Do you see any similarities among Kafka's Joseph K. (in 'The Trial'), Orwell's Winston Smith (in 'Nineteen Eighty-Four') and Pinter's Victor (in 'One for the Road')?

Joseph K. from Kafka's "The Trial," Winston Smith from Orwell's "Nineteen Eighty-Four," and Victor from Pinter's "One for the Road" share striking similarities in their experiences within oppressive systems. Each protagonist grapples with existential themes, feeling trapped and powerless against unjust forces. Joseph K. faces a mysterious legal system that accuses him without explanation, while Winston Smith is subjected to constant surveillance and manipulation by the totalitarian Party. Similarly, Victor contends with an oppressive government that employs torture to enforce conformity. All three characters struggle to maintain their individuality in dehumanizing environments, whether it's Joseph K. asserting his innocence, Winston Smith rebelling against thought control, or Victor resisting his interrogator's demands. Their narratives convey a sense of absurdity and futility in the face of oppression, with Kafka, Orwell, and Pinter all exploring themes related to totalitarianism and the abuse of power. Despite the unique details of their stories, the thematic parallels among Joseph K., Winston Smith, and Victor underscore the universal human experiences with oppression, power, and the pursuit of individual freedom. (ChatGPT)

Who would be your choice of actors to play the role of characters?

My cast for the movie, "The Birthday Party", 

Manoj Bajpayee as Stanley 

Akshay Khanna as McCann  

Pankaj Tripathi as Goldberg 

Nina Gupta as Meg

Anupam Kher as Petey

Radhika Apte as Lulu

Watch these videos for further understanding, 

What is Kafkaesque?

What is Orwellian?

Word count: 3406

Images: 14

Videos: 4

Thank you.

References:

Billington, Michael, and Madhumita Murgia. “Harold Pinter | Harold Pinter.” The Guardian, 26 December 2008, https://www.theguardian.com/culture/2008/dec/27/harold-pinter-obituary-playwright-politics. Accessed 24 March 2024.

Dabi, Smita. “The elements of violence, menace and intrigue in the birthday party.” International Journal of Advanced Academic Studies, https://www.allstudyjournal.com/article/522/3-1-74-244.pdf. Accessed 24 March 2024.

Deer, Harriet, and Irving Deer. “Pinter’s ‘The Birthday Party’: The Film and the      Play.” South Atlantic Bulletin, vol. 45, no. 2, 1980, pp. 26–30. JSTOR, https://doi.org/10.2307/3199140. Accessed 24 Mar. 2024.

“Harold Pinter | Nobel Prize-Winning Playwright & Screenwriter.” Britannica, 25 January 2024, https://www.britannica.com/biography/Harold-Pinter. Accessed 24 March 2024.

Malkovich, John, and Joe Hill. www.haroldpinter.org - Home, http://www.haroldpinter.org/home/index.shtml. Accessed 24 March 2024.

Pinter, Harold. “Art, Truth & Politics.” PMLA, vol. 121, no. 3, 2006, pp. 811–18. JSTOR, http://www.jstor.org/stable/25486356. Accessed 24 Mar. 2024.

An Artist of The Floating World | Worksheet - 2

WORKSHEET-4: EXPLORING THEMES AND NARRATIVE STRATEGY IN "AN ARTIST OF THE FLOATING WORLD"

Worksheet:

1. Understanding:

a) What is the central theme discussed in the excerpt?

The excerpt discusses the theme of identity and self-perception in "An Artist of the Floating World." Masuji Ono struggles with his role as an artist and societal expectations. Initially aiming to use his art for social change, he later succumbs to traditionalism and nationalism. Ultimately, he aligns himself with profit-driven interests. This highlights the complexity of identity and the tension between personal ideals and societal pressures.

b) Who is the protagonist of the novel, and what is his desire regarding his art?

The protagonist of "An Artist of the Floating World" is Masuji Ono. His desire regarding his art is to transcend the traditional role of being an artist of the floating world, which is associated with entertainment and escapism. Instead, he aspires to use his art to advocate for social change and represent the struggles of the poor. However, he faces challenges as he navigates between his personal ideals and societal expectations.

2. Applying:

a) How does Masuji Ono's shift in perspective reflect broader societal changes in post-war Japan?

Masuji Ono's changing perspective reflects Japan's struggle post-World War II to balance traditional values with modernization. Initially, he aims to use art for social change but later prioritizes profit, mirroring Japan's shift towards economic prosperity. His embrace of nationalism mirrors the country's resurgence of nationalist sentiments in the post-war era. Overall, Ono's journey mirrors Japan's broader societal changes, highlighting the tension between tradition and progress, idealism and pragmatism during this transformative period.

b) Can you provide examples of how nationalism influences the protagonist's actions in the novel?

In "An Artist of the Floating World," Masuji Ono's nationalism drives him to support causes celebrating Japanese heritage, reject Western influence in art, regret past associations with Westernized artists, and prioritize duty to his country. These actions reflect his identity shift in post-war Japan.

3. Analyzing:

a) How does Kazuo Ishiguro use narrative strategy to convey the theme of deception in the novel?

Kazuo Ishiguro employs a subtle narrative strategy in "An Artist of the Floating World" to convey the theme of deception. Through Masuji Ono's perspective, the reader encounters a layered storytelling technique where Ono's recollections often present a skewed or partial version of events. This narrative ambiguity mirrors Ono's own self-deception and the unreliable nature of memory. Additionally, Ishiguro strategically reveals information gradually, leading readers to question Ono's reliability as a narrator and forcing them to decipher the truth behind his deceptive storytelling. Overall, Ishiguro's narrative approach serves to highlight the complex nature of deception and its impact on both personal and societal narratives.

b) Discuss the significance of Masuji Ono's journey from a respected artist to a figure of disdain in society.

Masuji Ono's journey from esteemed artist to societal outcast in "An Artist of the Floating World" reflects broader themes of societal evolution and personal redemption. His decline highlights the clash between traditional values and modernity in post-war Japan, as well as the consequences of past actions on one's reputation. Kazuo Ishiguro uses Ono's narrative to delve into the complexities of redemption amidst societal change, presenting a cautionary tale about the lasting effects of individual choices in a rapidly transforming society.

4. Evaluating:

a) Do you believe Masuji Ono's actions are justified in his pursuit of advocating for the poor? Why or why not?

Masuji Ono from "An Artist of the Floating World" is a complex character torn between his past as a propagandist for Japanese militarism and his current desire to advocate for societal change. Whether his actions to support the poor are justified depends on one's interpretation. Some see it as genuine redemption, while others question his sincerity given his past. Ultimately, it's subjective and invites readers to ponder personal responsibility and redemption.

b) How does the unreliable narration contribute to the overall impact of the novel? Provide examples to support your answer.

The unreliable narration in "An Artist of the Floating World" intensifies themes of memory, guilt, and subjective truth. Masuji Ono, the protagonist, presents events from his subjective viewpoint, leading readers to question the accuracy of his recollections. For instance, he downplays his role as a propagandist for Japanese militarism, raising doubts about his reliability. Additionally, his biased interpretations of interactions with others, like his strained relationship with his daughters, further highlight the complexity of memory and perception. Overall, this narrative technique challenges readers to examine the nature of truth and individual perspectives.

5. Creating:

a) Imagine you are a character in the novel. Write a journal entry expressing your thoughts and feelings about Masuji Ono's actions and their impact on society.

Today, I'm pondering Masuji Ono's impact on society. While some view his advocacy for change positively, I can't overlook his past as a propagandist for Japanese militarism. His selective memory and unreliable narration deepen my skepticism, making me question the sincerity of his motives. Despite his efforts to support marginalized communities, doubts linger about his true intentions. Ono's legacy is a complex mix of contradictions, leaving us uncertain about his true motives and ultimate legacy.

b) Design a new book cover for "An Artist of the Floating World" that captures the essence of its themes and narrative style. Explain your design choices.

Book Cover Design for "An Artist of the Floating World",

1. The cover features a traditional Japanese landscape painting depicting the floating world, symbolizing the transient nature of memory and time.

2. Subtle symbols like cherry blossoms and a winding river convey themes of beauty, impermanence, and the interconnectedness of past and present.

3. Layers of depth in the artwork invite readers to explore the complexity of the novel's narrative style and themes.

4. The evocative color palette and minimalist typography create a serene and contemplative mood, drawing readers into the introspective atmosphere of the story.

Generated from Microsoft Designer

Conclusion:

By completing this worksheet, you have engaged with the themes and narrative strategy of "An Artist of the Floating World" at various levels of critical thinking. Reflect on your responses and consider how they enhance your understanding of the novel.

Worksheet-3: Exploring "An Artist of the Floating World"

Activity 1: Understanding Narrative Perspective

Identify instances in the transcript where Masuji Ono addresses the reader as "you." What effect does this narrative technique have on the reader's engagement with the text? How does it contribute to the characterization of Masuji Ono as an unreliable narrator?

"you come up the path, you may find yourself wondering what sort of wealthy man

owns it."

The direct address in the passage from "An Artist of the Floating World" immediately involves the reader, creating a sense of intrigue about the wealthy property owner. However, it also contributes to Masuji Ono's characterization as an unreliable narrator. By addressing the reader directly, Ono attempts to shape their perception to align with his own biases and motivations, potentially distorting the truth. This technique engages the reader while also highlighting Ono's tendency to manipulate their understanding of the narrative.

Activity 2: Character Analysis - Yukio Naguchi

Reflect on Yukio Naguchi's decision to take his own life. What factors might have influenced his actions, and how do Masuji Ono's reflections on Naguchi's character deepen our understanding of post-war Japan's societal context?

Yukio Naguchi's decision to take his own life likely stemmed from a complex interplay of factors. As a singer in imperialist Japan, his songs were used to rally Japanese youth into military service, mirroring Masuji Ono's paintings' role as propagandist art. However, with Japan's defeat in World War II, societal attitudes shifted drastically. Figures like Naguchi and Ono, once esteemed, became symbols of disgrace. Naguchi's suicide could be seen as an attempt to atone for his past actions and find redemption in a changed world. Masuji Ono's reflections on Naguchi's character deepen our understanding of post-war Japan's societal context by highlighting the profound impact of defeat and the moral reckoning faced by those formerly associated with nationalist propaganda.

Activity 3: Artistic Evolution of Masuji Ono

Analyze the transformation of Masuji Ono's painting from "Complacency" to "Eyes on the Horizon." What symbolism is present in each iteration of the painting, and how does Masuji's artistic evolution parallel his ideological journey throughout the novel?

Masuji Ono's transformation from "Complacency" to "Eyes on the Horizon" reflects his ideological journey throughout the novel. Initially influenced by Matsuda, Ono shifts from traditional Ukiyo-e to propagandist art, rejecting his earlier themes of poverty and injustice. "Complacency" embodies his early concerns, depicting the struggles of Japanese people. However, "Eyes on the Horizon" represents his evolution towards imperialist art, featuring three boys in samurai attire with the Japanese flag, symbolizing a shift towards nationalist propaganda. This evolution parallels Ono's ideological journey as he aligns himself with nationalist sentiments in post-war Japan.

Activity 4: Theme of Art and Social Responsibility

Explore Masuji Ono's ideological awakening and his confrontation with societal realities through his art. How does his interaction with Matsuda and the Okada Singham organization reflect the novel's exploration of the role of artists in addressing social issues?

Masuji Ono's ideological awakening, influenced by Matsuda and the Okada Singham organization, reflects a broader societal shift in post-war Japan. His transition from traditional Ukiyo-e to propagandist art mirrors a confrontation with social issues such as poverty and injustice. Through his art, Ono grapples with the complexities of Japan's past and present, highlighting the role of artists in shaping public opinion and addressing societal realities. His journey serves as a microcosm of the broader societal changes, emphasizing the moral dilemmas faced by artists in navigating their responsibilities amidst shifting ideological landscapes.

Activity 5: Encounters with Seji Muriyama and Setsuko

Compare and contrast Masuji Ono's interactions with Seji Muriyama and his daughter, Setsuko. How do these encounters contribute to Masuji's development as a character, and what insights do they offer into his relationships and sense of identity?

Masuji Ono's interactions with Seiji Muriyama depict camaraderie and nostalgia, reflecting his past as an artist. These encounters contribute to Ono's reflection on his artistic career and the changing societal landscape. Conversely, his relationship with Setsuko is marked by tension and conflict, as she challenges his nationalist sentiments and moral responsibility. Through these encounters, Ono confronts uncomfortable truths and undergoes a journey of self-awareness, grappling with his past actions and evolving sense of identity.

Activity 6: Reflecting on "New Japan"

Consider the concept of "New Japan" as discussed in the transcript. How does Masuji Ono's reflection on the trajectory of the nation and his past endeavors contribute to our understanding of post-war Japanese society and the challenges of progress?

Masuji Ono's contemplation of "New Japan" illuminates the challenges of post-war societal progress. As Japan adopts Western influences, Ono grapples with his identity amid the juxtaposition of Western cowboys and traditional samurai. His past role as a propagandist artist underscores the complexities of progress and the consequences of nationalist sentiments in a changing nation. Through Ono's introspection, the transcript delves into the struggle of reconciling tradition with modernity and navigating Japan's trajectory towards Westernization while preserving its cultural heritage.

Activity 7: Analyzing Matsuda's Role

Evaluate Matsuda's role as a mentor figure in Masuji Ono's life. How does Matsuda's influence shape Masuji's worldview and artistic trajectory, and what thematic significance does their relationship hold in the context of the novel?

Matsuda acts as a mentor to Masuji Ono, steering him towards propagandist art and nationalist sentiments. His influence shapes Ono's artistic trajectory away from traditional Ukiyo-e, reflecting broader societal shifts in post-war Japan. Matsuda's role highlights the tension between tradition and modernity, as well as the moral complexities of artistic expression in a changing society. Their relationship underscores the thematic exploration of the allure and pitfalls of nationalist ideology, portraying Matsuda as a catalyst for Ono's ideological transformation.

Activity 8: Critical Reflection

Reflect on the themes of memory, identity, and redemption as discussed in the transcript. How do these themes resonate with you personally, and what insights have you gained from studying Ishiguro's novel "An Artist of the Floating World"?

"An Artist of the Floating World" delves into themes of memory, identity, and redemption, resonating with the universal human experience. Personally, these themes prompt reflection on the complexities of personal history and the quest for self-understanding and forgiveness. Studying Ishiguro's novel has underscored the importance of confronting one's past and the transformative power of redemption, offering insights into the intricacies of individual and collective memory in shaping identity.

{Note: All responses are formulated using the assistance of ChatGPT, incorporating relevant keywords and concepts from the prompt, along with my personal interpretation of the novel.}

On Being Asked For a War Poem | W. B. Yeats

 Hello,

            This blog will showcase analysis of W. B. Yeats's poem 'On Being Asked For a War Poem'. 

W. B. Yeast 

William Butler Yeats was born on June 13, 1865, in Sandymount, Dublin, Ireland, and he passed away on January 28, 1939, in Roquebrune-Cap-Martin, France. He was an Irish poet, playwright, and writer of prose, widely regarded as one of the greatest poets of the 20th century who wrote in English. In 1923, he was honored with the Nobel Prize for Literature. Yeats was a modernist poet and a staunch supporter of Irish Republicanism during a period when Irish Nationalism was particularly strong. Despite being a Protestant Christian, he also held mystical and spiritual beliefs. Similar to other modernists, he was avant-garde in his artistic approach but had conservative political views, maintaining that politics, art, and war were not easily compatible. Yeats wrote several poems about the Irish rebellion during the First World War because he strongly supported the cause of Irish nationalism.

 On Being Asked For a War Poem

I think it better that in times like these

A poet's mouth be silent, for in truth

We have no gift to set a statesman right;

He has had enough of meddling who can please

A young girl in the indolence of her youth,

Or an old man upon a winter’s night.

 

'On Being Asked for a War Poem' is a brief poem by W. B. Yeats, created in 1915 and released the next year. Among Yeats's well-known poems, it is exceptionally short, consisting of only six lines.

Analysis of Poem

This poem stands out in a collection of war poetry because it chooses not to talk about war. It suggests that poets shouldn't delve into political topics and should focus on making their friends happy instead of getting involved in worldly matters.

W. B. Yeast was an Irish republican leader and played a major role in Irish nationalism, P. B. Shelley was one of the Yeats's inspiration during these times. During the the time of First World War, Yeats was asked to write a poem for a political purpose, Edith Wharton asked a poem from W.B. Yeats for a book aimed at raising funds for Belgian war victims during the First World War. Yeats responded with a poem, which was printed and successfully fulfilled its charitable purpose, and that poem was On Being Asked For a War Poem. 

The poem also thinks about an age-old question: what should poets do in society, and what's the point of poetry? Shelley, a famous Romantic poet, once described poets as "Unacknowledged legislator of the world". Here, poet is at contrast with this maxim and, do not want to talk but poet wants to remain silent. "A poet's mouth be silent" actually means agreeing by refusing, but it is here used in ironic way. Yeats is talking about the idea that poets should stay quiet during tough times, like war. He gives a clear opinion on this debate. The way he structures his sentences is like how people talk every day. When he says "a poet’s mouth" staying silent, he's using a fancy word trick called metonymy. 

The line "He has had enough of meddling who can please" means that the speaker is annoyed or not happy with individuals who get involved in things that are unnecessary or nonsensical. Furthermore, speaker uses examples of two different stages of life, when you're young and full of energy, and when you're old and thoughtful, maybe feeling a bit fragile. By bringing up these specific situations, Yeats is showing that the speaker is tired not just from one aspect of life but from various stages, from the lively times of youth to the more reflective moments of old age.

For further understanding, watch this you-tube video.

Thank you.