In Masks, by Fumiko Enchi, a modern look at the roles of women, in Japan, are explored. Not only in the home, but also as an intricate part of society, working their way through life, men, and emotions thought lost to Japanese women. The female characters of the novel are vindictive, cunning, powerful, and intelligent. All seem to predict and expedite their own situations, manipulating any that pose as obstacles towards their goals. In this empowering novel about Japanese women, it becomes evident what would become of men when women prevail in a Japanese society.

Pre-World War II the women of Japan were hidden and taught to be “shufu, woman ‘deep inside the house,’” Their identities would mimic only the leading men in their lives, forcing them to remain shallow beings of an over-traditional society. Unable to demonstrate their true emotions, the ladies of Japan would metaphorically wear masks. Masks that would distract outsiders from seeing any hint of individualism in them, and be blinded by what society molded their women to be: polite, inhibited, and subservient. These women would be able to mask their emotions as well, lacking any genuine feelings. Their live

Sadako, wife to Ibuki, ingeniously discovers more about the Togano family and the affair between Ibuki and Yasuko, than both Ibuki and Mikame. While both men were eagerly trying to manipulate the women into falling into their hands, all the women ended up having them in theirs. Sadako, catches Ibuki then turns around and tells Mikame, who was unaware of their situation, of the affair. She uses her intuition, her female intuition, to catch her husband in the act. Such ingenious and independent actions are rarely seen in Japanese women. Sadako exemplifies the coming of age in the women in Japan. Her brilliance is also illustrated when she reasons why Yasuko is playing with both men “To start with, you [Mikame] spoil her with all the presents she could want, and Tsuneo helps her with that research of hers” an evident reason, both men failed to recognize. Sadako represents the strength and indignant nature of modern Japanese women who refuse to be disgraced any longer.

Yasuko, the daughter-in-law and muse of Mieko, is the key pond in the novel. She exemplifies the unruly nature of a woman, who by any means will accomplish their goals. Although she still exhibits many archaic Japanese traits, she is more of a modern woman in action. Japanese morals shun adultery by women, but accept it in men. Yasuko, disregards the morality of her actions, and what society may think, and still engages in an affair with Ibuki. Not only that but while playing with Ibuki, she amuses herself with his friend Mikame. Such profound polygamy is rarely represented by women in Japan, and “can be said to be in the form of a subtle sarcasm on the patriarchal society and the liberalization theory put forward by feminists” Yasuko also displays how powerful women can be, by using her beauty as a key tool in swaying Ibuki and Mikame to obeying her will. Also, because these two men are in love with her, it pains them to see her so close to her mother-in-law Mieko. They often lay sarcastic comments about the two’s rela

Some topics in this essay:
Ibuki Yasuko’s, War II, Fumiko Enchi, Ibuki Mikame, Enchi Harume’s, Mieko Yasuko, II Japanese, Yasuko Mieko, japanese women, Akio” Mieko, women japan, , pre-world war ii, pond novel, ibuki mikame, yasuko ibuki, affair ibuki, modern japanese, pre-world war, modern japanese women, retarded women, fumiko enchi,