Akinari’s “Bewitched” focuses on the values reinforced by late 18th century Japan, which is also referred to as a part of the Edo period. A striking feature in this traditional work is the emphasis on cultural values such as shrines, prayers, and the belief of an otherworldly manifestation. The picture I chose is an artwork that corresponds with the artistic style of 18th century Japan. The woman in the picture bears a resemblance to the character Manago – with an extravagant style of dress as well as with ornaments that highlight her beauty. It is also highlighted in the tale: “Her features, the way she wore her hair, her colorful robe, the perfume she exuded, made her bewitchingly voluptuous.” I perceive Manago as a deceptive character who gives off an exterior of vulnerability in order to coax her victims. In the artwork, the woman’s expression is one of uncertainty even though she is dressed flamboyantly.
The primary reason why I chose to relate Akinari’s “Bewitched” with this particular artwork is because it fits in with traditional Japanese culture. “Bewitched” gives us hints to its time period with the mention of palanquins, priests, samurai and exorcism – all of which was very common in the Edo period. The tea set that is visible in the picture is also very prominent in traditional homes.
Yanfen,
Your comments here remind us of two important aspects of the society Akinari depicts: first, the emphasis on religious rituals and second, the belief in the supernatural. Both play an important role in Akinari’s story. It’s wise to keep in mind that readers of the text when it was first published would not have seen anything particularly fantastic or implausible about Manago being a demon.
Good job!
JS
Yanfen,
This is a great picture that represents Manago’s deceptive external appearance. We ultimately discover that her true form is a serpent, which says a lot about female ideology back then.
This image also reminds me of when Manago in Tomiko’s body—even then, Toyo-o described her appearance and behavior as “glamorous quality” and that she “looked quite beautiful among provincial girls” (645). This leads to me to think: what if Manago’s human body (the body that she first met Toyo-o in) was another person’s body, just like Tomiko’s case? It’s interesting to think about.
Tiffany
Tiffany
That is an intriguing thought that I haven’t heard of! If Manayo is not the real body, is the serpent the bona fide form? How did it come to possess Manayo? Thank you for your insight.
Yanfen