The short story was adapted into an episode of Animated Classics of Japanese Literature, which was released in North America by Central Park Media.
[6] The story is the account of the star-crossed romance between a German dancing girl, Elise, and the protagonist, Ōta Toyotarō, a Japanese exchange student who must choose between his career and his feelings for the dancer.
Throughout the novella, Toyotarō himself plays a secondary role in most events: it is largely the actions of Elise, his mother, and Aizawa Kenkichi that further the narrative.
Toyotarō states that, despite it being common for dancing girls to become prostitutes due to these conditions, Elise has not done so because of her "modest nature" and her father's protection.
The final line of the story is Toyotarō's reflection upon their relationship: "Friends like Aizawa Kenkichi are rare indeed, and yet to this very day there remains a part of me that curses him.
This technique, uncommon in Japanese literature at the time, allowed Ōgai to delve deeply into the protagonist's emotional landscape and thought processes.
By experiencing the narrative through the protagonist's eyes, readers encounter a character grappling with self-awareness and individual identity in the context of Japan's rapid modernization.
[6] This innovative narrative technique paved the way for the development of the I-novel genre, a prominent style in Japanese literature that emphasizes personal experiences and introspection.
The story confronts readers with the complexities of cultural identity, particularly the tension between tradition and the allure of Westernization, a struggle relevant to Japan's modernization period and beyond.
[4] Critics acknowledge the story's portrayal of individual struggles amidst social and cultural clashes, offering a nuanced perspective on the human cost of modernization.
For example, Christopher Hill examines the protagonist's resentment as a reflection of a national identity grappling with Western influence, adding a layer of social commentary to the narrative.
Its innovative narrative approach and exploration of enduring themes continue to inspire writers and spark discussions about individual experiences within a rapidly changing society.
The story's influence extends beyond the domain of literature, prompting ongoing conversations about cultural identity, societal pressures, and the psychological effects of modernization.
[12] Ōgai responded to Ningestu's critique, defending his characterization of Ōta, and the two would continue on a correspondence in which they debated Ningetsu's criticisms of "The Dancing Girl".
[13] Literary scholar Miyabi Goto notes the importance of Ōgai and Ningestu's debate for the continued growth of Japanese literature during the 19th century.