戰後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，她們如何去面對情慾之外的傳統「戀愛」鄉愁？《晚菊》中的阿欣外觀上努力營造「豔麗」的藝妓舞台形象，已經中年禿頭、毫無「羞澀」舉止的昔日情人登門借貸，她厭惡絕望的拒絕「男性」他者的再度糾纏。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。岡本可能子的老妓則強調「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，小白臉偶爾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」。岡本可能子的「純粹」「戀愛」的熱情，有著更多清醒意識的「母性」與「魔性」成分。本論文試圖比較驗證林芙美子《晚菊》與岡本可能子《老妓抄》兩篇同樣以「老藝妓的情慾想像」為主題的作品，探討由出賣肉體的非日常空間回歸日常生活場域的藝妓，在年老色衰的時間制約下，她們強調嚮往的「純粹」與「純情」戀愛是什麼？並解讀其中空間與時間「禁錮與解放」的雙重意涵。

How could the “Falling in Love” themes of postwar Showa era female literature overthrow the dregs of traditional “irogoi” that kept on obsessing the male authors? “Geisha” who are expected to solve the sex demands of men can be classified as not only the “no marriage females,” but also the “Unusual Kind” of females outside of the “family system.” How can they face the traditional “falling in love,” homesick beyond luscious desire? In Moon Daisy, although Kin manages to work hard at maintaining the flamboyant stage picture of the Geisha, while the bald-headed, mid-aged lover comes to her to borrow money without any sense of shyness; she turns down this “male” other, dangling with reluctance and desperation. Nevertheless, for the hot love and passion of the romance that depend just on youth, spiritually, she still holds the clinging emotion and delusion of the old “love” homesickness. Okamotokanoko’s old prostitute emphasizes the “ego vital power” part. Through her whole life, she looks for her heaven-chosen mate until her last breath. Finally, the old prostitute raises the man just like any domestic animal. “They were as cute as big pets.” Therefore, it doesn’t matter so much that even the gigolos run away or escape occasionally; they will be back when the time is right. She realizes her “bountiful and shiny life” through a young man. Okamotokanoko’s passion of “pure” “love” contains awakened consciousness of “mother nature” and elements of a “demon nature.” This article examines comparisons between Hayasifumiko’s Moon Daisy and Okamotokanoko’s Tales of an Old Prostitute. Both stories use the theme of “Old Geisha’s luscious desire” to explore the nature of the “purity” and “genuine love” that old Geishas emphasize and long for while selling their bodies during a non-normal life space and then return back to a normal life space. This article also analyzes “double meanings,” which underlie the notions of “Imprisonment” and “Disembarrassment.”