| Abstract: | 戰後的昭和時期女性文學中的「戀愛」主題，要如何顛覆掉男性作家所揮之不去的傳統「色戀」殘渣？被期待解決男性下半身生理需求的「藝妓」，可說是屬於「不婚的女人」，更是「家庭制度」外的「異類」女性。她們又如何去面對情慾之外的傳統「戀愛」鄉愁呢？本論文試圖比較驗證林芙美子《晩菊》與岡本かの子《老妓抄》兩篇同樣以「老年藝妓的戀愛」為主題的作品，對於出賣肉體的藝妓來講，一直強調嚮往「純粋」與「純情」的戀愛是什麼？探討其中與「他者」「社會」的互動關係。《晩菊》中的きん要的是「靦腆羞澀」的純情男，她曾被那種「純情」陶醉過，認爲那是高尚無比的。如果說「養情夫」的話, きん還被一個情夫板谷包養, 一週來上一回，還可以享受撒撒嬌的小女人情態，即使外觀努力營造「豔麗」的藝妓舞台形象,已經中年禿頭的昔日情人登門借貸、毫無「羞澀」的舉止，她厭惡絕望的拒絕「男性」他者的再度瓜葛糾纏。但是對以「青春」為唯一條件的「戀愛」的「純情」與「熱情」，她精神上仍有著「戀愛」舊鄉愁的依賴情緒與幻想。岡本かの子的老妓則強調「自我生命力」的部份, 她終其一生到嚥氣為止要找一個真命天子。老妓養男人是像養家畜「大寵物一樣的可愛」，所以，小白臉偶而的外遇或逃跑也沒關係，時間到了自己會再跑回來，她藉著一個年輕男子來實現她「繁華燦爛的生命」. 岡本かの子的「純粹」「戀愛」的熱情，有著更多「自立」（清醒意識）的「母性」與「魔性」成分。這兩位女性都呈現了昭和時期以後女性強化了自己主體性地位的功能, 不管是自己拒絕他者的進入也好, 或者是養個小白臉, 這兩個女性都很認識清楚自己, 跟認識自己所處的社會環境, 更呈現出由不同的兩個「戀愛」面向，不再期待「合一」關係的「完全燃燒」與擁有，也不是自他關係的改變，「虛無」的孤獨正是戰後男女「戀愛」的唯一終結點。
How can the “Falling in Love” topics in the Showa era female literature after the World War II overthrow the dreg of traditional “irogoi” that kept on obsessing the male authors? “Geisha” that are expected to solve the sex demands for man can be classified as not only the “no marriage females”, but also the “Unusual Kind” of females out of the “family system”. How can they face with the traditional “falling in live” homesick beyond the luscious desire? This article would like to compare between Hayasifumiko’s “Bankyu” and Okamotokanoko’s “Tales of an Old Prostitute”. Both articles are pieces of works that use “Old Geisha that Falls in Love” as their topics. For Geisha that sell her body, it emphasized on what the longing for :”purity” and “genuine love” is all about. It tried to investigate the interaction relationship of them with “others” and the “society”. In the “Bankyu”, what the San was looking for is the “bashful and shy” pure love male. She had been enchanted with such kind of “naive affection” and though that was fabulous elegancy. As to the matter of “keeping an inamorato”, San had even been kept as fancy lady by one of her bedmate Itatani. They had sex once a week. She can also enjoy the scenery of lardy-dardy. Although she managed to work hard in maintaining the flamboyance stage picture of the Geisha, as the bold headed mid-aged old lover came to her for borrowing money without any act of shyness, she turned down this “male” others’ dangling with reluctance and desperation. Nevertheless, for the heat-whole love and passion of the romance that depend merely on youth, spiritually, she still hold the clinging emotion and delusion of the old “love” homesick. Okamotokanoko’s old prostitute emphasized over the “ego vital power” part. Through her whole life, she was looking for her heaven chosen mate until her last breath. The old prostitute raised the man just like any other domestic animal. “They were as cute as big pets”. Therefore, it doesn’t matter that much even the gigolo ran away or escaped occasionally. They will be back by themselves when the time is due. She realized her“bountiful and shinny life” through a young man. Okamotokanoko’s passion of the “pure” ” love” has more self-dependence (awaken consciousness) “mother nature ” and “demon nature” constituents in it. Both females demonstrated the reinforced functions of ego subjective status of women after the Syouwa Era. Whether in the case of turning down the entrance of other one, or the raising of gigolo, these two females knew themselves and their social status very clearly. This will illustrate the two completely different phases of the two “falling in Love”. They no longer anticipated the “complete combustion” and owning for the “merging” relationship. Neither is it the changing of ego-alien relationship. “Empty Loneliness” is exactly the only destiny for the “Love” between man and woman after the War. |
