“For After Thoughts” by Tachihara Michizō Poetry Analysis and Exhibition of Japanese Modernism
Tachihara’s poem “For After Thoughts” exemplifies a growing expectation in the early 20th century for men of high intellect to sever their consciousness from nature, and rather become an observer and critic of the world around them. Through the thoughtful use of literary techniques, influenced by the culture and society of Japan in the 1930s, and while delving into metaphysical subject matter, Tachihara’s poem draws distinctions between the individual, particularly their artificial consciousness and their naturesque dreams.
This poem is largely characterized by its literary devices, and the use of metaphors and imagery is crucial to understanding the subtle distinctions between the individual who yields to their societal impulses, and those who yield to calls from nature. To begin the poem, the speaker indicates that their dreams and their actual “self” exist as two separate entities; “My dreams always went back to the lonely village at the foot of the mountain (Takahashi, 301).” The poem proceeds with dense imagery describing what we can glean is Japan in late fall; from the presence of mizuhiki — a wild flower that blooms in the peak of fall (Takahashi 302), and kusahibaris — “cricket-like” insects which notably chirp in the late summer to early fall (Takahashi, 301). From this we can vividly envision pastoral, bucolic scenery in Japan. That is, until this image is punctured by a dash in line 8, immediately followed by transparency into the speaker’s consciousness, wherein they mention a lack of interest from their peers when they describe the beauty they see in nature. This line is especially noticeable for two reasons: one is that neither the translated nor original text had punctuation besides a comma up until this point, and the other is that this line is the first time the narrator speaks of their actual self in first person, rather than the pearsonified version of their dreams.
To understand why Tachihara wrote of these emotions, context is critical. In 1868, the establishment and development of a new government led to an increased sense of national identity in the Japanese people. Additionally, Japan underwent a wave of suburbanization. As banks developed, industries sprouted, and demand for militia increased, fewer and fewer people grew up to be farmers, and the rural age began to wane (Segal, 3). This was perhaps the reason Tachihara felt the impulse to write this poem (in 1934); he was particularly vocal during this time about how he felt “the power of the artificial in architecture was becoming more powerful than the power of Nature in architecture (Emoto, 4).” Perhaps he was conveying that this newly modernized society should build its creations and our dreams as a part of nature, rather than replace it.
The mood and tone of the poem and speaker shift throughout this piece. The poem again has a line of utter importance in the second to last stanza; “dreams never go farther.” This line alone abruptly changes the tone from warmly reminiscing to coolly nostalgic. Additionally, directly following this line, the speaker mentions yearning for their dreams to be forgotten, disappearing into oblivion. The speaker is perhaps noticing the change in Japan’s culture, and felt forced to let go of their dreams since this newly changed (arguably developed) nation will no longer be able to sustain their dreams that were born into the naturesque landscape that once characterized Japan. One reference also mentioned that Tachihara felt that the development of the ‘modern man’ meant resisting his obedience to the pull of nature, and that his “consciousness must be isolated from nature, and he would be forced to analyze and objectify it (Emoto, 4).” The poem eventually closes, leading the reader to infer the dreams will never become anything more, they will remain dreams “walking through a door of desolation, lit by a multitude of stars Takihashi, 302).” It is interpretable, but this may be so that the dreams will uphold their structural integrity, instead of becoming warped and succumbing to an artificial world.
During this time, vast growth was taking place in Japan, and from Tachihara’s perspective, taking its toll on our place in nature. In this society, Tachihara is able to convey the disconnection he feels as Japan grows into a suburbanized nation, and its people gain a sense of national identity. Although this “modernization” may have led to social cohesion or increased militia, in creating a sense of nationality determined by man-made borders, one loses their connection to a pastoral culture and rural life wherein their dreams may lie. Perhaps if our dreams cannot be created in society, without severely distorting them to conform, Tachihara feels they must be let go.
Sources:
Emoto, Hiroshi. “The Poetry of Architecture Doomed: Michizo Tachihara’s Neo-Classicism during the 1930's.” Academia.edu — Share Research, 2015, www.academia.edu/14957672/The_Poetry_of_Architecture_Doomed_Michizo_Tachihara_s_Neo_classicism_during_the_1930s. Date accessed: 30 Sept. 2020.
Sonnets in Japan Author(s): Kimio Takahashi Source: Comparative Literature Studies , 1991, Vol. 28, №3, East-West Issue (1991), pp. 296–309 Published by: Penn State University Press Stable URL: http://www.jstor.com/stable/40246795 Date accessed: 30 Sept. 2020.
Segal, Ethan. “Meiji and Taishō Japan: An Introductory Essay.” University of Colorado, Boulder, UCB, 2016, www.colorado.edu/ptea-curriculum/sites/default/files/attached-files/meijitaishoessay.pdf.
Date accessed: 30 Sept. 2020.
