"Precautionary Steps"

“Precautionary Steps”

            Is to rationalize past transgressions enough “self-forgiveness” to move forward in a meaningful way? 

            Masuji Ono is in fact an ignorant man, but not so much as to allow him the privilege of moving forward so easily.  In this the final analysis of An Artist of the Floating world, Ono’s true self is revealed; his narrative condemns him rather than redeems him.  Ono, although consistently admitting regrettable choices made in the past, justifies his action in an eternal attempt at avoiding rejection and the mediocre.  Rooted in his father’s rejection of art, Ono seems to remain trapped in mind set of the child he once was.  This idea becomes clear in Ono’s interaction with, and vicarious living through, his grandson Ichiro.  “You women sometimes don’t have enough sympathy for a boy’s pride” (p. 157).  This statement by Ono to his daughter regarding Ichiro tasting some sake, leads to a display of Ono’s true weakness of character:  In actuality, Ichiro himself is not that interested in drinking sake until Ono declares it an act of “strength” and manhood.  Ichiro trust Ono’s word that his grandfather will in fact prevent the “women” from interfering with this right of passage.  However, when Ono fails to stand by his word he, on page 188, goes so far as to blame Ichiro’s lack of insistence for “defeat” by the women.  Typically Ono explains the situation away and clears himself of all wrong doing.

            Ono’s ignorance is further displayed in his attempt at justifying his change from “an artist of the floating world” to that of “real importance”.  In Ono’s explanation to Mori-san for his “progression to other things” (p. 180), Ono believes that he is making an ethical decision and that he has a purpose beyond simply creating art.  In doing so however, he ignorantly follows an ideology he truly knows nothing about. 

            Masuji Ono never fully deals with his past transgressions; in words he admits them but in voice he does not.  He carefully crafts the “meaning-making activity” of his narrative as to protect himself from shame.  Ono believes that if he takes the right precautionary steps he will fully convince himself that all done in the past was “at the time in the best of faith” (p. 202).  Being nothing more than a sophisticated child, Ono believes that it is enough to admit only “shortcomings of past achievements”, not a defined wrongful act. 

Ono cannot move forward in a meaningful way.  Forgiveness of himself does nothing more than maintain his shield against reality.  The hope is only that others can learn from his mistakes and see their flaws for what they are.