THE OLD TRADITIONS THAT CREATE LIFE TRAGEDY OF
CHIEKO, ONE OF THE MAJOR CHARACTERS OF
YASUNARI KAWABATA’S
THE OLD CAPITAL
ASARJANA PENDIDIKANTHESIS
Presented as Partial Fulfillment of the Requirements to Obtain theSarjana PendidikanDegree
in English Language Education
By
Olivera Ika Candra Yuliastuti Student Number: 051214154
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITY YOGYAKARTA
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THE OLD TRADITIONS THAT CREATE LIFE TRAGEDY OF
CHIEKO, ONE OF THE MAJOR CHARACTERS OF
YASUNARI KAWABATA’S
THE OLD CAPITAL
ASARJANA PENDIDIKANTHESIS
Presented as Partial Fulfillment of the Requirements to Obtain theSarjana PendidikanDegree
in English Language Education
By
Olivera Ika Candra Yuliastuti Student Number: 051214154
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITY YOGYAKARTA
iv
"We can do no great things, only small things with great love"
(Mother Teresa)
“Whatever you do, or dream you can, begin it, boldness has
genius, power, and magic in it”
(Johann Wolfgang von Goethe)
"Learning is finding out what we already know. Doing is
demonstrating that you know it. Teaching is reminding
others that they know just as well as you. You are all
learners, doers, and teachers"
(Richard Bach)
vii
ABSTRACT
Yuliastuti, Olivera Ika Candra. (2012). The Old Traditions that Create Life Tragedy of Chieko, One of the Major Characters of Yasunari Kawabata’s The Old Capital.Yogyakarta: English Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Sanata Dharma University.
This study discusses Yasunari Kawabata’s The Old Capital. The novel tells the story of an adopted daughter named Chieko. Her life is filled with hardship and personal tragedy. First, she is abandoned by her biological parents; second, her love is betrayed by Hideo; third, her marriage is cancelled; and fourth, her loneliness for being left by her twin sister. However, she tries to face it with great motivation.
The aim of this study is to see Chieko’s tragic life and how she deals with it. There are two problems to answer, namely, “How is Chieko described in the novel?” and “Why does Chieko have to go through her tragic life?”
The method used in this thesis is the library research. Its main source is the novel The Old Capital by Yasunari Kawabata. Other sources are taken from related books, journals, articles, and the internet. The theories used are the theory of character and characterization, theory of tradition, theory of tragedy, and theory of motivation. The approach used is psychological approach.
There are two findings. The first one shows that Chieko has got fair skin and has long hair. Her appearance is boring, uninteresting, and old fashion. She is also obedient, kind, honest, and talented. The second finding says that she is the victim of the practice of the old traditional value.
It is suggested that further researchers deal with feminism versus traditional values and the symbolism in the novel. It is also recommended that the novel is used as the materials to teach Paragraph Writing.
viii
ABSTRAK
Yuliastuti, Olivera Ika Candra. (2012). The Old Traditions that Create Life Tragedy of Chieko, One of the Major Characters of Yasunari Kawabata’s The Old Capital.Yogyakarta: Fakultas Keguruan dan Ilmu Pendidikan, Program Studi Pendidikan Bahasa Inggris, Universitas Sanata Dharma.
Studi ini membahas novel Yasunari Kawabata yang berjudul The Old Capital. Novel ini menceritakan tentang seorang anak angkat yang bernama Chieko. Hidupnya penuh dengan kesulitan dan tragedi pribadi. Pertama, ia dibuang oleh orang tua kandungnya; kedua, cintanya dikhianati oleh Hideo; ketiga, pernikahannya dibatalkan; dan keempat, kesepiannya karena ditinggalkan oleh saudara kembarnya. Namun, ia mencoba menghadapinya dengan motivasi yang besar.
Tujuan dari studi ini adalah untuk melihat kehidupan tragis Chieko dan bagaimana ia menghadapi itu. Ada dua masalah untuk menjawab, yaitu “Bagaimana Chieko dideskripsikan dalam novel?” dan “Mengapa Chieko harus melalui hidupnya yang tragis?”
Metode yang digunakan dalam tesis ini adalah penelitian kepustakaan. Sumber utamanya adalah novel Yasunari Kawabata yang berjudul The Old Capital. Sumber lain diambil dari buku-buku terkait, jurnal, artikel, dan internet. Teori yang digunakan adalah teori karakter dan karakterisasi, teori tradisi, teori tragedi, dan teori motivasi. Pendekatan yang digunakan adalah pendekatan psikologis.
Terdapat dua hasil. Yang pertama menunjukkan bahwa Chieko mempunyai kulit yang indah dan rambut yang panjang. Penampilannya membosankan, tidak menarik, dan ketinggalan zaman. Dia juga penurut, baik hati, jujur, dan berbakat. Hasil kedua menyebutkan bahwa ia adalah korban dari praktek nilai tradisional kuno.
Disarankan kepada peneliti yang selanjutnya untuk mendiskusikan feminisme vs nilai-nilai tradisional dan simbolisme dalam novel. Hal ini juga dianjurkan sebagai bahan untuk mengajarParagrah Writing.
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ACKNOWLEDGEMENTS
I would like to give my greatest thanks to Jesus Christ for all of His blessings throughout my life; in my past, present, and future. I praise Him because I have finished my undergraduate thesis. Everything is possible with His love.
I would like to sincerely express my deepest gratitude to my advisor,
Dr.Antonius Herujiyanto, M.A., for his time, guidance, support, patience, suggestions, and assistance in completing this thesis. I am very happy and proud that he has been willing to guide me in writing this thesis. Without his feedback, I am sure that this thesis would never have been completed. He is the kindest lecturer that I have met. I thank him and pray for his happiness and health.
My next gratitude is for all lecturers of the English Language Education Study Program for guiding and teaching me during my study at Sanata Dharma University. I also thank all staff of the English Language Education Study Program secretariat, especially Mbak Dhaniek and Mbak Tari, for giving me their best service and assisting me during my years of study at Sanata Dharma University.
My deepest gratitude goes to my beloved parents Antonius Riyatmoand
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I am especially thankful to my boyfriend,Benediktus Analius Giawa,for his time, patience, love, support, and care. I thank him for his big contribution in accompanying me while I wrote my thesis in the library almost every day for three months. His support has made me brave enough to step towards my future.
I am grateful to my best friends Yuantari Ananingsih (Bow-bow),
Yohanna Kurnita (Nyit-nyit), and Triastuti Dian Kusumartini, for the friendship, trust, adventure, laughter, tears, and support they have given me. Thanks for being my very best friends. Keep in touch, girls.
I would like to thank Christopher Allen Woodrich for spending his valuable time proofreading every word I write, including my many mistakes. I would also like to thank all the teachers and students at SDN Tegalrejo I, TK Indriyasana Baciro, andTK Kanisius Notoyudan for their support and prayers so I can finish this thesis.
I thank Mami Cika, Vita, Nova, Tunda and Indro for sharing and encouraging me to finish my thesis. Last but not least, I thank all my friends at PBI class of 2005for their love and support in the process of writing this thesis.
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STATEMENT OF WORK’S ORIGINALITY ... v
LEMBAR PERNYATAANPERSETUJUAN PUBLIKASI ... vi
ABSTRACT ... vii
ABSTRAK ... viii
ACKNOWLEDGEMENTS ... ix
TABLE OF CONTENTS ... xi
LIST OF APPENDICES ... xiii
CHAPTER I INTRODUCTION A. Background of the Study ... 1
B. Aim of the Study ... 4
C. Problem Formulation ... 4
D. Benefits of the Study ... 5
E. Definition of Terms ... 5
CHAPTER II REVIEW OF RELATED LITERATURE A. Review of Related Theories ... 7
1. Theory of Critical Approach ... 7
2. Theory of Character ... 8
3. Theory of Characterization ... 9
4. Theory of Tradition ... 10
5. Theory of Tragedy ... 15
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CHAPTER III METHODOLOGY
A. Object of the Study ... 17
B. Approach of the Study ... 19
C. Method of the Study ... 19
CHAPTER IV ANALYSIS A. Description of Chieko’s Character ... 21
1. Physical Description ... 21
2. Personality Description ... 23
a. Obedient ... 23
b. Kind ... 24
c. Honest ... 25
d. Talented ... 27
B. Chieko’s Tragic Life ... 28
1. Chieko is Abandoned by her Biological Parents ... 29
2. Her Love Betrayed by Hideo ... 33
3. Her Marriage is Canceled ... 39
4. Her loneliness for being Left by her Twin Sister ... 43
CHAPTER V CONCLUSIONS AND SUGGESTIONS A. Conclusions ... 47
B. Suggestions ... 50
1. Suggestion for the Future Researchers ... 50
2. Suggestion for Teaching-Learning Process ... 51
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LIST OF APPENDICES
APPENDIX A The Summary ofThe Old Capital... 54
APPENDIX B The Biography of Yasunari Kawabata ... 56
APPENDIX C Lesson Plan ... 60
APPENDIX D Learning Material ... 62
1
CHAPTER I
INTRODUCTION
This chapter consists of five parts, namely Background of the Study, Aim of the Study, Problem Formulation, Benefits of the Study, and Definition of Terms. First, Background of the Study explains the importance of discussing Yasunari Kawabata’s The Old Capital. Second, Aim of the Study shows the goal of this study. Third, Problem Formulation consists of two questions, which describe the problems that will be analyzed. Fourth, Benefits of the Study shows advantages readers may get from the study. Fifth, Definition of Terms gives a short explanation about some terms related to study, which serves to avoid misunderstandings and misinterpretations.
A. Background of the Study
Novels are works of literature. Van de Laar and Schoonderwoerd in An Approach to English Literature describe novels as “a work of art insofar as it introduces us into a living world, in the respects resembling the world we live in, but with an individuality of its own” (1963, p.163). Therefore, literature and human life are highly related. They have a significant relationship each other.
Old traditions are an interesting topic for discussion. A tradition is something that is inherited from the past to the present. (Shils, 1981, p.12). If something lasts only for a short time, then it cannot be called a tradition. However, if it can last for three generations then it can be called a tradition (Shils, 1981, p.15).
Each country has different traditions, but not all can endure. Factors that can exacerbate the loss of tradition include globalization, industrialization, assimilation of specific cultural groups, and progress of the society mindset. Therefore, we are expected to maintain the tradition so that we can remember our ancestors. But not all traditions can be accepted. There are some old traditions that can cause tragedy. One example is an old tradition from Java, namely julung caplok. That is the tradition in which a child born at twilight is believed to bring misfortune, leading to the parents abandoning it. The child becomes a victim of the old traditions of the region.
published in 2006 by Counterpoint. The original version ofThe Old Capital is in the Japanese language, under the titleKoto.
Through this novel, the author reveals the tragic life of an abandoned child named Chieko, one of the major characters of Yasunari Kawabata’s The Old Capital. The character is described as one who lives in a family that still upholds the old traditions of Kyoto. She lives in a harmonious family and is loved, but she feels the tragedy of life. She feels alone and that she has been abandoned, betrayed, and humiliated.
The old tradition that causes tragedy in Chieko’s life is an old one, namely twins not being accepted in society. Because of it she was abandoned by her parents. She became the victim of an old tradition of Kyoto. It is the beginning of the tragedies that she goes through.
She is abandoned in front of the home of Takichiro and Shige. Takichiro is a Kyoto-based kimono designer and Shige is his wife who helps him run the slowly declining business. When Chieko is in middle school, Shige tells her that she was adopted. Chieko discovers something tragic, that she has been abandoned by her biological parents. Generally, an abandoned child is one who is not expected by his or her parents.
Her status as an abandoned child creates a tragedy for her planned marriage. She really loves Ryusuke. Ryusuke also loves her. One day his father tells Takichiro that he wants to match Ryusuke with Chieko. However, Ryusuke’s father cancels the match when he learns that Chieko is only an abandoned child.
The last tragedy is her loneliness after being left by her twin sister, Naeko. Naeko does not want to live with her. Naeko thinks that twin sisters are still not acceptable in the society. Other reasons include that she does not want to cause a trouble for Chieko and feels guilty her parents’ mistake.
This study will explore the old traditions experienced by Chieko and their influences on Chieko’s life, especially on her tragic life. In other words, this study deals with the reason why Chieko must go through her tragic life.
B. Aim of the Study
The aim of the study is to examine Chieko’s tragic life and how she deals with it.
C. Problem Formulation
Based on the discussion, several problems can be formulated as follows: 1. How is Chieko described in the novel?
D. Benefits of the Study
By studying a novel, students of the English Education Study Program can obtain several benefits. Literary appreciation, especially of English literature, can be improved. Students can also learn a lot about tradition. They can learn new vocabularies, improve their knowledge about studying literary works, and find the pleasure of reading a novel.
Meanwhile, for the lecturers of English Language Study Program, the novel The Old Capital may be used as a material to teach Paragraph Writing, Book Reports, Introduction to Literature, Cross Cultural Understanding, Prose, and Reading. Lecturers can also encourage students to love reading by using this novel.
E. Definitions of Terms
To avoid ambiguities, misunderstanding, and vagueness in this thesis and to provide an accurate analysis and explanation in resolving the previously-formulated problems, the writer will use some term definitions from several experts.
1. Character
say and what they do (1993, p.20). In his bookAn Introduction to Fiction, Stanton says the word character refers to the individuals who appear in the story (1965, p.17). In this study, the writer utilizes the theory of character to find out the personality of Chieko, the main character of Yasunari Kawabata’s The Old
Capital.
2. Tradition
According to Shils (1981, p.12), tradition means something that is inherited from the past to the present. If something lasts only for a short time then it cannot be called a tradition. However, if it can last for three generations then it can be called a tradition (Shils, 1981, p.15). The writer utilizes the theory of tradition to find out the traditions which happened in Chieko’s life.
3. Tragedy
CHAPTER II
REVIEW OF RELATED LITERATURE
This chapter consists of two parts. The first part is a Review of Related Theories, which is subdivided into the Theory of Critical Approach, Theory of Character, Theory of Characterization, Theory of Tradition, and Theory of Tragedy. The second part states Theoretical Framework that describes how the theories reviewed are applied to solve the problem formulated in the first chapter.
A. Review of Related Theories
2. Theory of Critical Approach
Rohrberger and Woods state that a critical approach to literature necessitates and understanding of work’s nature, function and positive values contained in literary work, such as novel, to provide the means whereby readers can understand how literature is shaped (1971, p.3). There are five critical approaches defined by them, namely, the formalist approach, biographical approach, sociocultural-historical approach, mythopoeic approach, and psychological approach (pp.6-15). The first approach is formalist approach. This approach deals with the elements essential for an admiration toward the ideas and personality of the author to comprehend the literary object (p.6).
The second approach is biographical approach. Biographical approach recognizes the need for an appreciation of ideas and personality of the author to understand the literary object (Rohrberger and Woods, 1971, p.6). The third
approach is sociocultural-historical approach. This approach insists that a reference of the civilization that produces the work of art is merely the way to trace the actual work. The proponents of this approach define civilization as behavior resulting from the way people think and feel, and also the actions of a specific group of people; and show that literature takes these behaviors as the issue. Therefore, it is crucial that the critics examine the social milieu where a work was produced and which it reflects (p.9).
The fourth approach is mythopoeic approach. This approach deals with the finding of a certain universally periodic mold of human notion, which is understood to find expression in noteworthy works of arts (p.9). The fifth approach is psychological approach. This approach deals with the attempt to discover and exhibit certain periodic molds. Furthermore, the psychological approach draws on a diverse body of knowledge.
This study uses the sociocultural-historical approach to accomplish the analysis. The sociocultural-historical approach leads us to analyze the story in reference to the civilization in Japan. By using this approach it enables the writer to analyze the relation among the old traditions and life tragedy of Chieko, one of the major characters of Yasunari Kawabata’sThe Old Capital.
3. Theory of Character
narrative work, endowed with moral and dispositional qualities that are expressed in what they say – the dialogue – and what they do – the action” (1993, p.20). Therefore, a character is the person in a narrative work and his or her traits or characteristics.
In his book, An Introduction to Fiction, Stanton says the word character refers to the individuals who appear in the story (1965, p.17). Miligan (1983, p.195) says that there are two kinds of characters found in a story, the major and secondary characters. The major characters are those who appear more often than the other characters in the story. It means that the character becomes the center of the story and also its focus, from the beginning to the end. The secondary characters are those who appear less often in the story. It means that the characters only appear in a certain setting. The characters have less important roles than major characters’ role.
4. Theory of Characterization
First is personal description, which means the author describes the characters’ appearances directly. Second is character as seen by another, which means the author uses another character’s opinions to describe a character. Third is speech, which means that what a character says can give the reader some clues to his/her character. Fourth is past life, which means the author gives a clue to characters’ past events that help the reader understand his or her character.
Fifth is conversation of others, which means the conversation of other people and the things they say about a character can be a clue to the person’s characteristics. Sixth is reaction, which means the author helps the readers to recognize a person’s character by describing how that person reacts to various situations and events. Seventh is direct comment which means the author gives a comment on a person’s characteristic directly.
Eighth is thoughts, which means the author can give his readers direct knowledge of what a person is thinking about. Ninth is mannerism, which means the author can tell his readers about the character’s characteristic from the character’s mannerisms, habits and idiosyncrasies. The writer utilizes the theory of characterization to analyze what sort of character Chieko is described in the novel. This is also to obtain the description of Chieko’s character.
5. Theory of Tradition
a. Tradition
inherited or in what particular combination or whether it is a physical object or a cultural construction; it says nothing about how long it has been passed or in what manner, whether orally or in written form (Shils,1981, p.12). The word tradition comes from the Latin traditio, which means a ritual, relief or object passed down within a society, still maintained in the present, with origins in the past. Originally, traditions are passed orally, without the need for a writing system (“Tradition”, n.d).
According to Shils, the conception of tradition is silent about whether there is acceptable evidence for the truth of the tradition or whether the tradition is accepted without its validity having been established. The decisive criterion is that having been created through human actions, through thought and imagination, it is handed down from one generation to the next. (1981, p.12). A way of expressing the duration of a tradition is to speak of it in terms of generations. At a minimum, two transmissions over three generations are required for a pattern of belief or action to be considered a tradition (p.15).
b. Cultural Values
Cultural values color testimonies in three main ways. First is through the medium of the first informant. It means that they determine the choice of what events to record and the significance attached to them. Second is through the medium of certain cultural concepts. It means that chiefly those concerning time and historical development, they distort chronology and the historical perspective. Third is through the medium of the past. It means that they make testimonies conform to cultural ideas, thus turning them into examples to be followed (Vansina, 1965, pp.97-108).
c. Japanese Tradition
1) Twins must be separated
Twins are not common in Japan. Back in the day, it was believed that having twins was a bestial act; hence it was common to hide this reality by doing separate registrations or in the case of Kawabata’s characters, to be abandoned. It is in understanding this old belief that found an appreciation for the author’s decision to put tension in Chieko discovering she had a twin up in the cedar village (Anonymous, 1936).
2) Matchmaking
Matchmaking is the process of matching two people together, usually for the purpose of marriage. Matchmaking is usually called as an arranged marriage. It is a practice in which someone other than the couple getting married makes the selection of the persons to be wed, meanwhile avoiding the process of courtship.
Arranged marriages vary in both nature and duration of time from meeting to engagement. In arranged marriage, the parents may only introduce their son or daughter to a potential husband or wife. From that point on, it is up to the children to manage the relationship and make a choice. There is no set time period. This is common in Japan (“Matchmaking”).
Parents applied the three criteria to screen their future son-in-laws or daughter-in-law. Those criteria are pedigree (bibit), quality (bobot), and rank (bebet) (Aida, 2000).
Pedigree means origin. This relates to your family background, whether you have 'normal' well-behaved parents and siblings or not. A few decades ago, blue-blooded gentlemen who were related to the Kings and their associates were highly preferred. At the present time within the modern society, these titles of nobility mean almost nothing.
Quality means the quality of the person. Ideally, people who have done a lot of property fit this criterion. But quality can also be translated as weight. It means that the heavier you are - the wealthier you are (Aida, 2000).
3) Obi
Obi and kimono are the traditional clothing of the Edo period, (1600-1868). However, the obi did not become a prominent part of a woman’s ensemble until the mid Edo period. It was then that designers, weavers and dyers all focused their talent on creating a longer, wider and more elaborate obi. Obi measurement was then standardized to 360 cm long by 30 cm wide (Anonymous, 2001).
Edo fashion was influenced by the design and style that entertainers wear. Women of the samurai class continued to wear the simpler kimono, tied together with an obi made of braided cords. Characterized by long, flowing sleeves, the kimono was accented by a large, loosely tied obi.
For many years, the obi bow was tied either at the front or on the side. By the mid-Edo period, the obi bow was tied in the back position. It was said that this style started in the mid-1700s when a Kabuki actor, imitating a young girl, came on stage with his obi tied in the back. Another reason that the back position became more acceptable was that the sheer bulk of the wider obi became too cumbersome to be positioned in the front of the kimono.
style of the earlier days. The new fashion was to tuck the kimono at the waist to adjust the length of the kimono to the woman's height. These tucks and folds were visible and became part of the art of tying the obi (Anonymous, 2001).
6. Theory of Tragedy
According to Gordon, tragedy is a literary form that probes the nature of man or, more particularly, the reasons why man suffers. Since tragedy deals with how man faces his misfortunes, it helps us to define what man is and what he can be (1973, p.1). In this study, the writer is going to see Chieko’s tragic life.
Morris Weitz described “a tragedy is the imitation of an action, which is both serious and has magnitude, and which is complete in itself, continues to provide the core of the representation of tragic action” (as cited in Drakakis and Liebler, 1998, p.3). Moreover, the tragic action consists of a series of related incidents which are formally organised into elements of plot involving such reversal and recognition. Through these processes tragedy arouses pity and fear, by which to accomplish its catharsis of such emotions.
Lucien Goldmann as cited in Drakakis and Liebler described two essential characteristics of tragic man which should be noted if we are to see him as a coherent human reality.
B. Theoretical Framework
Those theories are very helpful to support the analysis of the study. The writer provides some theories related to the critical approach, they are theory of character and characterization, theory of tradition, and theory of tragedy.
First, the writer uses the theory related to the critical approach to help the writer in analyzing the novel. The writer uses sociocultural-historical approach to accomplish the analysis. The sociocultural-historical approach leads us to analyze the story in reference to the civilization in Japan. By using this approach it enables the writer to analyze the relation among the old traditions and life tragedy of Chieko, one of the major characters of Yasunari Kawabata’sThe Old Capital.
Second, the writer uses the theory of character and characterization to solve the first problem. Those theories are used to analyze what sort of character Chieko is described in the novel. This is also to obtain the description of Chieko’s character.
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CHAPTER III
METHODOLOGY
This chapter consists of three parts, namely Object of the Study, Approach of the Study, and Method of the Study. Object of the Study states the work being discussed. Approach of the Study describes the approach used and the reasons for doing so, whereas Method of the Study explains the steps taken in analyzing the novel and how the approach is applied to answer the questions formulated in the problem formulation in Chapter 1.
A. Object of the Study
In this thesis, the writer has chosen to analyze the novel The Old Capital. The author ofThe Old Capital, Yasunari Kawabata, was born in Osaka, Japan, on 14 June 1899. He is a very famous author in Japan. His novel The Old Capitalis one of the three novels cited specifically by the Nobel Committee in 1968, when they awarded Kawabata the Nobel Prize for Literature.
The Old Capital was originally published in 1962 and first translated into English in 1987 by J. Martin Holman; a revised edition of his translation was published in 2006 by Counterpoint. The original version ofThe Old Capital is in the Japanese language and titled Koto. This novel consists of 182 pages and is divided into nine chapters. The Old Capital was adapted into Japanese feature film by Noboru Nakamura in 1963; the film is known in English under the title
Foreign Language Film. A second film adaptation was directed by Kon Ichikawa in 1980.
The Old Capital tells about Chieko’s tragic life. Chieko is the adopted child of Takichiro and Shige. Takichiro is a Kyoto-based kimono designer and Shige is his wife, who helps him run the slowly declining business. When Chieko is in middle school, Shige tells Chieko that she is not her daughter. However, Takichiro and Shige do not tell her where she comes from. Shige says they stole a lovely baby from under the cherry blossoms at night at Gion Shrine and escaped in a car. In fact, Chieko was abandoned by her biological parents in front of the lattice door of the couple’s traditional kimono shop.
One day, Chieko tells Shin’ichi, her childhood friend, that she is an abandoned child, a foundling. She also tells Hideo, a weaver. Both of these men love Chieko.
At the festival the God of Yasaka in Otabisho, Chieko accidentally meets her twin sister Naeko. She does not believe that she has a sibling. Naeko lives on her own in small village in Kitayama. They look identical, to the point that Hideo thinks Naeko is Chieko. Hideo, who hopes to give an obi to Chieko, confuses the two.
Takichiro’s shop is having financial difficulties and Ryusuke, Shin’ichi’s brother, helps him. Chieko and Ryusuke fall in love. Initially Ryusuke’s father plans to marry his son to Chieko. However, after he knows that Chieko is a foundling, the marriage is canceled.
One night, Naeko comes to Chieko’s house. That is the first and the last time she comes to Chieko’s house. Naeko does not want to stay with Chieko. She wants to live alone without disrupting Chieko’s life.
B. Approach of the Study
This study focuses on the old traditions that cause tragedy in the life of Chieko, one of the major characters of Yasunari Kawabata’s The Old Capital. This study uses the sociocultural-historical approach for its analysis because it takes some sociocultural aspects of reference as its basis. These approaches are then combined with an interest of the biography as well as knowledge of and interest in literary history. The writer needs to know the sociocultural aspects at that time, especially the old traditions in Japan. The sociocultural-historical approach help the writer to analyze Yasunari Kawabata’s The Old Tradition and understand the historical-cultural background related to the novel.
C. Method of the Study
Old Capital by Yasunari Kawabata. Other sources are taken from related books, journals, articles, and the internet.
There were some steps taken in order to find out the answer to the research problems, as follows below. First, the writer read the novel as the primary source several times. The first reading was used to gain a better understanding about the story, and subsequent readings were more in-depth, to ensure complete comprehension of the novel. While reading, notes were taken and important quotes underlined to support the analysis.
Second, as much as information and data as possible was gathered by the writer. The information and data were found in books about literary theory and other sources related to the study, such as journals, articles, and internet.
CHAPTER IV
ANALYSIS
This chapter aims to answer the questions formulated in Chapter I. This chapter is divided into two parts. The first part will discuss the Chieko’s character. The second part deals with the reason why Chieko has to go through her tragic life.
A. Description of Chieko’s Character
A major character is the focus of the story. He or she appears more often than other characters (Milligan, 1983, p.195). In the novel The Old Capital, Kawabata presents Chieko as one of the major characters in the story. Chieko appears from the beginning until the end of the story, because the story is about her tragic life. She serves as the center of the story.
There are nine ways an author may reveal the characters’ personality and traits to the readers. They are personal descriptions, other characters’ views, speech, past life, conversation of others, reactions, direct comments, thoughts, and mannerisms (Murphy, 1972, pp.161-173). Those ways support each other in the analysis of the character Chieko.
2. Physical Description
It is better to describe Chieko’s physical appearance before discussing her character. As cited by Staton, the word ‘character’ refers to the individuals who
appear in the story (1965, p.17). As written in the novel The Old Capital, Chieko has fair skin (white, smooth, and delicately grained). In one occasion, where she drinks the broth of the stew that is mixed with sake, she is described as below:
A faint peach blush appeared at her neck. It was a beautiful sight to see the color rise in her youthful, white skin, so smooth and delicately grained. A fascinating charm showed in her eyes. Occasionally, she stroked her cheek.
Chieko had never before put so much as a drop of liquor to her lips, but the broth of the stew was almost half sake. (p.153)
Chieko also has long hair, as shown when she prepares to go to bed.
The ceiling was high in the rear of the second floor. There were two rooms that served as private rooms for Chieko and her parents. Chieko sat at the mirror, undoing her long hair, which was always neatly arranged. (p.38) According to Takichiro, her adoptive father, Chieko’s appearance is boring and uninteresting because she always wears plain clothes. As cited by Rohrberger and Woods, characterization is an author’s creative process in creating a character that consists of describing the character’s physical appearance, style, manners, thoughts, actions and others’ opinions about him or her (1971, p.231). Chieko’s appearance is stated in the conversation between Chieko and Takichiro when she is waiting for her father to finish eating. In relation to Murphy’s theory, speech is used to identify characteristics (1972, p.163).
Takichiro looked his daughter over from her shoulder to her waist. “It’s so plain. You always wear my designs. You’re probably the only person who does. You always end up wearing what won’t sell.”
“It’s all right. I wear them because I like them.” “But they’re so plain.” (p.23)
Murphy’s theory, this is personal description (1972, p.161). This is evidenced in Takichiro’s reaction shown below:
Chieko rarely wore slacks and a sweater, but today she did, along with heavy, brightly colored socks.
Since her father was at home, Chieko sat down to greet him. Takichiro looked wide-eye at his daughter’s unusual appearance. (p.163)
3. Personality Description
a. Obedient
Obedience is recognition of legitimate authority which must be expressed in one’s opinion and behavior (James Drever, 1958, p.103). Chieko is an obedient person. It can be analyzed through Murphy’s theory of characterization, in this case derived from the conversation of others (1972, p.164). As a daughter, she obeys her parents. Although she does not like their orders, she will always obey them. She dedicates her life to Takichiro and Shige, so she is willing to have her life regulated by them, including her marriage. Using Abrams’ theory, she is “endowed with moral and dispositional qualities that are expressed in what [she] say[s] – the dialogue – and what [she does] – the action.” (1993, p.20). This is stated in the conversation between Takichiro and Shige when they talk about matchmaking between Chieko and Hideo.
“Shige, what do you think of that boy Hideo?” Takichiro asked. “What do you mean, ‘what do I think’?”
“What if we brought him into our home to marry Chieko?”
“What? Why should you bring up something like that all of a sudden?” “He’s a fine boy, isn’t he?”
“Yes, but you’ll have to ask Chieko about such things.”
Chieko sincerely accepts whatever her parents order. It looks like coercion. When her parents ask her to do so, she has to follow the order, whatever it is, because she wants to show them her love and her gratitude. This is shown in her statement to Shin’ichi. In Murphy’s theory, it is expressed through speech (1972, p.163).
“Are you completely obedient to your parents?” “Yes completely.”
“Even when it comes to something like marriage?”
“Yes. For now I intend to be obedient,” Chieko answered without hesitation. (p.17)
Chieko sticks to her statement that she is should obey her parents. Another conversation which proves Chieko’s obedience towards her parents is seen in her speech with Takichiro about their fate, poverty.
“Chieko, if I sold this shop, how would it be if we moved to a small, quiet house near Nanzenji or Okazaki-Nishijin would be all right too and the two of us thought up designs for kimono cloth and obis? Could you stand being poor?”
“Poor? I wouldn’t mind at all.” (p.101)
b. Kind
Kindness is showing concern about the happiness and feelings of others in a gentle and friendly way (“Kindness”). Chieko is kind to everybody. Chieko’s kindness is shown when she wants to help Masako, her friend, make tea whereas at that time Chieko is dating Shin’ichi. This can be analyzed using Murphy’s theory, from Chieko’s speech.
“Chieko, would you lend a hand for a moment? I’m so tired. I’m helping with my teacher’s guests.”
Chieko also shows kindness to her parents. She really cares about her parents’ feelings. She tries to make them happy by wearing Takichiro’s kimonos. “And you, Chieko, you’re kind enough to wear only your father’s kimonos. I should thank you.” (p.33). Chieko’s kindness can be seen by her mother. In Murphy’s theory, this is a character’s personality as seen by another (1972, p.162).
Chieko does not only show her kindness to her parents or friends, but also her twin sister, Naeko. Naeko and Chieko are separated at birth and meet after 20 years. However, Naeko does not live with Chieko; she lives in poverty in Kitayama cedar village. One day, Chieko feels sorry for Naeko and gives her a kimono.
“Mother, you probably heard me ask the clerk, but I’m going to send a kimono to the girl in the cedar village. I want her to have it.”
“That’s fine. And how about a jacket to go with it?” Chieko looked away, her eyes filling with tears. (p.136)
Again, Chieko shows her kindness to Naeko. She wants to give the best thing she has to Naeko. She wants to prove her love to Naeko through her kindness. Chieko gives Naeko a coat, an umbrella, and high clogs so that she is not cold in the snow.
“Chieko got up. “You don’t have a raincoat do you? Here, take this.” She got out her best velvet coat, a collapsible umbrella, and high clogs for Naeko.
“These are for you. Come again … please.” (pp.181-182)
c. Honest
abandoned child. There are two possible reactions, either she will be left by Shin’ichi because she is an abandoned person, or she will be appreciated by Shin’ichi because of her honesty. That is a difficult thing to be done, to speak honestly about oneself. Her honesty makes Shin’ichi shocked and hesitant. However, Shin’ichi can appreciate Chieko’s honesty and still be her friend.
“Shin’ichi. I was an abandoned child, a foundling,” Chieko spoke abruptly.
“An abandoned child?” “Yes.”
……
“I was a foundling, left in front of the red lattice door of the shop.” “What are you talking about?”
“It’s true. Though it’s no use telling you the story. When I stand here on the veranda of Kiyomizu, looking out on the sunset over this huge city, I wonder if I was born here in Kyoto.”
“What are you talking about? You’re crazy.”
“Why would I lie about something like this?” (pp.14-15)
Another truth that Chieko tells is about Naeko. She tells Shige of her meeting with Naeko. Shige is very surprised to know that, because she does not suspect that Chieko has a sister, especially a twin.
“Mother, I went to the Kitayama cedar village. I have a sister there. We’re twins. I met her for the first time at the Gion Festival this year. She says our real father and mother died long ago.”
This naturally took Shige by surprise. She simply looked into Chieko’s face. “The Kitayama cedar village? Really?”
“I couldn’t keep it from you. I’ve only met her twice … at the Festival Gion and today.” (p.121)
“Hideo, I’m sorry.”
“Sorry? There’s nothing to be sorry about.”
“But it …” Chieko searched for words. “It wasn’t me you promised the obi to on the bridge at Shijo at the festival. You mistook someone else for me.”
Chieko’s face tightened. “Hideo, the girl you talked to was my sister.” Hideo didn’t speak, so Chieko went on. “She’s my sister. I had just met her myself for the first time that night. She’s my sister.”
He still did not respond. (p.110)
Chieko tells Shin’ichi and Ryusuke the truth, that she has a twin sister named Naeko, when they have dinner. Shin’ichi assumes Chieko is joking with them. They are dubious of Chieko’s story.
“Shin’ichi.” Chieko spoke to the more approachable brother. “The person you saw at the Festival of Ages at the garden of Gosho wasn’t me. You were mistaken. She was some distance away, wasn’t she?”
“You don’t have to hide anything,” Shin’ichi laughed.
“I’m not hiding anything.” Chieko did not know what to say. “Actually, that was my sister.”
“What?” Shin’ichi was dubious. (p.153)
d. Talented
Talented is having talent (“Talented”). Chieko is skilled in the arts. She obtains this talent from her father, Takichiro. Although she is only an adopted child, she can absorb the knowledge. Sometimes she gives input to Takichiro about spatial planning. In Murphy’s theory, this is expressed through speech (1972, p.173).
Chieko’s art is very beautiful. Although she is not as skilled as Takichiro, Chieko feels confident of her abilities. The beauty of her work is recognized by Hideo’s father, Sosuke, a popular weaver. He praises the pattern Chieko made to be an obi.
“Hideo’s father stood beside him for a moment, watching. “My, that’s a beautiful obi. And what an unusual pattern.” Sosuke inclined his head. “Whose is it?”
“It’s for Sada’s daughter, Chieko.” “And the pattern?”
“Chieko designed it.”
“Really. Chieko can do that? Hmm.” Sosuke seemed almost to hold his breath as he gazed at the obi still on the loom, touching it with his fingers. “Hideo, your weaving is precise. That’s good.” (p.137)
Other evidence showing her talent is that she can design an obi to be given to Naeko.
“Chieko has been well acquainted with the kimono styles in Kyoto since she was little. I haven’t shown her this obi. Somehow I feel embarrassed to.”
“But it’s her own design. I want her to see it.” (p.141)
B. Chieko’s Tragic Life
This part of the study will answer the second question stated in the problem formulation. According to Shils, tradition is anything which is transmitted or handed down from the past to the present (1981, p.12). Cultural values colour testimonies in three main ways, namely through the medium of the first informant, through the medium of certain cultural concepts, and through the medium of the past (Vansina, 1965, pp.97-108).
faces his misfortunes, it helps us to define what man is and what he can be (Gordon, 1973, p.1). Tragedy can occur because of a tradition. In this part, the writer deals with the reason why Chieko has to go through her tragic life. Chieko becomes the victim from an old tradition in Kyoto, namely twins not being accepted in society. Because of it, she was abandoned by her parents. It is the beginning of the tragedies that she goes through. The first tragedy, she is abandoned by her biological parents; second, her love is betrayed by Hideo; third, her marriage is cancelled; and fourth, she feels lonely after being left by her twin sister.
1. Chieko is Abandoned by her Biological Parents
Chieko has spent her life as an adopted child of Takichiro’s family. She is abandoned in front of their home. When Chieko is in middle school, Shige tells her that she was adopted. She thinks a child who was in middle school is able to be mature and think clearly.
“If it’s true, where did you find me?”
“Under the cherry blossoms at night at Gion Shrine,” her mother responded without hesitation. “I may have told you before, but there beneath the blossoms a lovely baby had been laid on a bench to sleep. She looked up at us and smiled like a flower. I couldn’t help but pick her up. When I did my heart was pierced. I couldn’t bear it. I pressed my cheek against hers. When I looked at your father’s face he said, ‘Shige,let’s take this baby.’ ‘What?’ ‘Hurry, let’s go.’ The rest is like a frantic dream. I think we jumped into the car in front of the restaurant Hiranoya.” (p.36) Actually, Chieko knows where she comes from. Chieko is very sad because she knows that Takichiro and Shige lied to her about her origin. The thing that makes her so sad is that she learned that not from Takichiro or Shige, but from her neighbors.
Chieko had caught wind of the neighbors’ whispers and realized that she was a foundling, but she had forced not to wonder about what sort of parents had abandoned her. (p.93)
There is a folk wisdom in Japan that says adopting a baby often induces a mother to bear her own (p.73), but that does not happen to Shige. She still cannot have a biological child. Chieko is then raised as a beloved only child.
“The sky has turned such a summer color,” her mother said as she too looked up. “Chieko, you were born in this house. I didn’t give birth to you, but you were born here.” (p.72)
Shige’s love for Chieko is very deep. Shige tries to guarantee Chieko’s love, so that the girl can assume Takichiro and Shige are her parents and voluntarily stay with them. She does not want to lose Chieko and does not want Chieko to go back to her biological parents. It is because she is an invaluable treasure which Shige cannot live without.
“Your real parents were probably crazed with grief. When I think about it, even now I feel I should return you, but it’s too late. If you wanted to leave us to seek out your real parents I couldn’t stop you, but I would probably die.”
“Mother, don’t say such thing. You are the only mother I have. I always felt that way as I was growing up.”
“I understand. And that makes my sin all the worse. I realize that your father and I will go to hell …. What is hell? Perhaps it would be to have our dear daughter leave us.” (p.35)
A teenager when faced with such situation must feel stressed. Chieko then finds out that she is an orphan. Her biological parents have died and she has never seen or met them. She learns this from Naeko, her twin sister.
“And your father?” Chieko asked.
“A long time ago he slipped and fell when he tried to jump from one tree to another while cutting brances in the Kitayama cedars. He hit in a bad place. That’s what the people in the village say. I don’t know for myself. I had just been born at the time.”
Chieko’s biological mother died ten years ago, which caused Naeko become an orphan; she was cared for by another family. Chieko is very sad knowing it.
“Miss, this is the house where I’m staying. Please come in and looked around.”
Chieko did not respond.
“They won’t mind. They’ve taken care of me here almost ten years,” Naeko said. (p.170)
Only a few people who actually know about Chieko’s problem. However Chieko is unable to bear the burden alone. Therefore, she tells her friend Shin’ichi that she is an abandoned child.
“Shin’ichi. I was an abandoned child, a foundling,” Chieko spoke abruptly. (p.15)
However, Shin’ichi is confused by Chieko’s talk and does not believe that Chieko was abandoned. He tries to console her and give her wise words.
“Abandoned,” Shin’ichi whispered. “Even you sometimes feel as though you were an abandoned child, Chieko? If you are abandoned, then so am I … spiritually. May be all people are abandoned children. Perhaps being born is like being abandoned on this earth by God.”
Shin’ichi stared at Chieko’s profile. The glow of dusk colored her cheeks ever so faintly. Perhaps it was the poignancy of the spring evening.
“They do say we are God’s children. He abandons us here, then tries to save us…” (p.15)
raised by her biological parents, she would not get a basic moral and intellectual education due to their background as cedar tree cutter in a small village in Kitayama.
Chieko’s tragic life, as an abandoned child, has cultural value. According to Vansina, Chieko’s tragic life testimonies through the medium of the past because it conforms to cultural ideas, thus turning them into examples to be followed (1965, pp.97-108).
2. Her Love is Betrayed by Hideo
According to Duvall, love is a language that expresses everything from poetry to profanity. It speaks in a whisper, in a sob or in a shout (1996, p.25). It is also felt by Hideo, a weaver. He loves Chieko. Hideo’s love is not shown with flowers or a poem, like most people. He shows his love with an obi. He gives an obi to Chieko.
“Chieko, I have a plan. I want to put all my energy into weaving an obi that would be the representative work of my twenties.” (p.91)
that Chieko can become his lover. Therefore, in the novel, an obi is used not only as a kimono’s sash, but also as a binder of love.
Actually, Chieko also loves Hideo, but she feels uncomfortable showing her love. However, Chieko’s love can be known from her attitude and conversation with Takichiro.
“He’s an interesting boy.” Takichiro suppressed a smile as he recalled the time he hit Hideo in the face. “You and Hideo certainly had a long talk. I guess he has a weakness for girls.”
Chieko’s eyes looked sheepish. “On the camphor tree avenue? All I did was listen. I wondered why he would talk to me so much. Why should he open up to someone like me?”
“It’s because he likes you, isn’t it? You understand that much, don’t you? He said you were more beautiful than the Miroku at Chuguji or Koryuji Temple. It surprised me too. That obstinate fellow says some amazing things.”
Startled, Chieko did not speak. She blushed lightly to the base of her neck. (pp.57-58)
However, a misunderstanding arises between Hideo and Chieko. Chieko does not want to accept the obi made by Hideo. That is because Hideo promised the obi to Naeko, not Chieko. Hideo considers her attitude a rejection of his love.
“Hideo, I’m sorry.”
“Sorry? There’s nothing to be sorry about.”
“But it…” Chieko searched for words. “It wasn’t me you promised the obi to on the bridge at Shijo at the festival. You mistook someone else for me.”
Hideo’s voice would not come out; he could not believe her. His face lost its strength. It was for Chieko that he had put his whole heart into the design. Was it Chieko’s intention to reject Hideo completely?
But if that were the case, Hideo could comprehend neither Chieko’s remarks nor her manner. His harsh mood returned. “Did I meet your ghost? Was it your ghost I talked to? Do ghosts appear at the Gion festival?”
Chieko tries to explain what happened on the bridge at Shijo at the festival and asks Hideo to make an obi for Naeko. Reluctantly he will make an obi for Naeko. He does it all for Chieko, not for Naeko. Hideo wants to prove to Chieko that he will do anything for her. Hideo was still doubtful. “I’ll make the obi, since you’ve asked me.” (p.111).
Hideo weaves the obi with love. His love flows in each strand of yarn that he weaves. So he put his whole heart in his weaving. He hopes that his love for Chieko can be conveyed through the obi.
Hideo’s joy increased as the obi that Chieko had requested neared completion. Perhaps it was because he was finishing a work into which he had put his whole heart or because he could perceive Chieko in the movement of the shuttle of the loom and the sounds of the weaving. (p.137)
The obi made by Hideo is very beautiful. His father praises his weaving (p.137). The father also knows that his son is falling in love with Chieko. He may know about it from Hideo’s gestures and the way he weaves.
“You seem to be quite fond of Sada’s daughter.”
“Is that what it is?” Hideo had been resting, but he put his hands and feet back to the loom and continued weaving. (p.138)
It can be concluded that Hideo loves Chieko, though he mistook Naeko for Chieko. That is understandable because they are very similar. Someone else who also thinks they look alike is Masako, Chieko’s friend. The first time Chieko and Masako see Naeko at Kitayama. Masako says that Naeko is very similar to Chieko physically.
“How strange,” she said again. Then she tilted her head, gazing at Chieko as if looking at her anew.
“Well, it’s her overall appearance. It’s hard to say just how she resembles you. Her nose … or eyes … of course you would expect a girl from the city and a girl from the mountains to be quite different. Please forgive me.”
“That’s all right.” (p.66)
The similarity is very strange and scary for Chieko. She denies what is said by Masako. Moreover, she considers Masako rash, so she wrongly judges Naeko. Chieko does not want others to be like her.
“She really does look like you. Don’t you think it’s strange? Take a look.” Masako repeated.
“Really?” Chieko gave the girl scarcely a glance. “You’re always so rash.” “It doesn’t matter how rash I am. You don’t see someone as beautiful as she is.” (p.65)
An unexpected event occurs. When Chieko goes to Otabisho, she meets Naeko. There, Chieko learns the truth about Naeko: Naeko is Chieko’s twin sister, and they have been separated since they were babies. But now they are reunited unexpectedly.
“What did you pray for?” Chieko asked.
“Were you watching me?” The girl’s voice trembled. I wanted to know what became of my sister. It’s you. You’re my sister. God has brought us together.” The girl’s eyes overflowed with tears. (p.86)
However, Chieko cannot accept what is said by Naaeko. She denies the fact.
Chieko stood firm, her resolve welling up within her. “I’m an only child. I have no sister,” she said, but her face turned ashen. (p.86)
he does as asked. However, his love brings him into betrayal. When he meets Naeko, he is unexpectedly interested in her, especially with her hair. He sees her hair when it comes undone unintentionally and cascades down her back. It happens quickly because she put a towel on her head hurriedly. Naeko’s hair makes Hideo’s love waver.
Even so, it appeared as if she wore the faintest trace of lipstick. Hideo wished she would take off the towel once more and let him see her hair fall down her back again, but he could not bring himself to ask. (pp.143-144)
Moreover Hideo also shows his interest to Naeko by looking at her secretly.
“And I’ve also been looking at you out of the corner of my eye. You didn’t notice, did you?”
“Stop it”
Naeko cast her gaze down. (p.146)
Hideo is very good in seducing women. He says to Naeko that he has put his heart into weaving the obi for her, despite the fact that he had actually put his heart into weaving the obi for Chieko (p.137). Therefore, he lies to Naeko.
When he finished tying the string Hideo spoke to Naeko. “I hope you won’t have any difficulty accepting this. I was the one who promised the obi, but Chieko asked me to make it. Please think of me only as the weaver …. But I did put my heart into weaving it for you.” (p.141)
This event proves that Hideo’s love to Chieko is not a true love, but only ‘puppy love’. Without waiting for a long time, Hideo asks Naeko to date; Naeko accepts.
Naeko’s cheeks blushed lightly for a moment, then she nodded deeply. (p.143)
Starting from their meeting in Kitayama, Hideo falls in love with Naeko. He wants to have a serious relationship with her. He proves it by inviting her to his house and planning what to do after they get married. It makes Chieko very jealous.
“The festival of Ages is nothing unusual to him.”
“Ni, that didn’t seem to be it.” Naeko put strength into her words. Chieko was silent, so she went on. “After the parade was finished he invited me over.”
“To his house?” “Yes.”
Chieko was slightly surprised.
“He has two younger brothers. He showed me the land behind the shop and said if we got married he’d build a little place there and he’d weave what he likes.” (pp.168-169)
In truth, Naeko does not want to hurt Chieko. However, she must be honest about Hideo’s proposal. Unbeknownst to Chieko, Hideo has proposed Naeko.
“What is it?” Chieko asked.
“Actually … Hideo says he wants me to marry him. And …” Naeko stumbled and caught hold of Chieko. (p.166)
3. Her Marriage is Canceled
Chieko has a complicated romance. She is betrayed by Hideo, who prefers Naeko over her (p.166). On the other hand, Chieko feels very lucky to be among people who really love her. She lives in a harmonious family and has friends who love her so much, one of whom is Shin’ichi. He is Chieko’s childhood friend. He has secretly loved Chieko for a long time. He tries to be a good friend and listens to all Chieko’s complaints, despite being sick. It is a realization of his love for Chieko.
“I thought, what a happy girl has entered the garden, and I felt sad. And my head has been hurting …”
“Me? I’m happy?” Shin’ichi did not answer. “You have a headache?” “No, it feels better.” “Your color is bad.”
“No, I’m all right,” Shin’ichi protested. (p.8)
It turns out that not only Shin’ichi likes Chieko, but so does Ryusuke, Shin’ichi’s brother. Shin’ichi introduces his brother to Chieko when they meet at Gion festival (p. 93). Unexpectedly, Ryusuke falls in love with Chieko.
Ryusuke is more aggressive than Shin’ichi. He can show his love for Chieko anywhere and anytime. Moreover, he tries to meet Chieko frequently although only for a few minutes.
“Then later on we can go have some turtle soup. I’m reserving seats at Daiichi in Kitano. Would you come with me? It wouldn’t be polite for me to ask your father and mother to go too, so I’m inviting just you. I’ll bring along the festival boy.”
Chieko was overawed. “Yes” was all she could say.
It had been more than ten years since Shin’ichi had ridden on the shrine palanquin in the Gion Festival, but his older brother Ryusuke still called him “the festival boy,” half in ridicule, but also because Shin’ichi still retained the gentleness and charm of a festival child. (pp.150-151)
His deep love for Chieko allows Ryusuke to accept who Chieko is, an abandoned child. Ryusuke shows Chieko that he really expects her to be close to him. He says unpredictable words in front of Chieko and Shin’ichi. These words make Shin’ichi jealous.
“I was the one who was abandoned.”
Shin’ichi still said nothing. Then Ryusuke spoke. “If that’s true, I wish Chieko had been abandoned in front of our shop. Yes, I wish she had been abandoned at our shop,” he repeated wholeheartedly.
“Ryusuke,” Shin’ichi laughed, it wasn’t the Chieko you see now. She was a newborn baby.”
“What would be wrong with a baby?” Ryusuke said. “You’re saying that as you look at Chieko now.” “No, I’m not.”
“The Chieko you see now is the Chieko that the Sadas have nurtured and loved and raised,” Shin’ichi said. “You were still a child then yourself. Could a little child have raised baby?”
“Yes,” Ryusuke answered firmly.
“Hmm. That’s your same stubborn confidence. You can’t stand to lose.” (p.154)
Actually, Chieko knows that Shin’ichi loves her, but for her he is only a friend. A strange feeling arises when Ryusuke comes in her life. She falls in love with Ryusuke.
Generally a woman will try to look her best on a date with a man that she loves. She will busy herself in preparing her clothes, shoes, make up, hair, etc. Chieko does these things before her date with Ryusuke. She is very confused about dressing up.
In the afternoon Chieko went to the rear of the second floor and carefully put on her makeup, but nothing that would stand out. Try though she would, Chieko could not do up her long hair to suit herself. She attempted this and that, still wondering what to wear. (p.151)
The love between Ryusuke and Chieko is known by Mizuki, Ryusuke’s father. As a father, he wants his son to be happy. Therefore, he invites Takichiro to dinner at Saami in Maruyama Park (p.175). There, he tells Takichiro that he wants to match Ryusuke with Chieko. Matchmaking is one of the traditions in Japan which is passed orally, without the need for a writing system. It is the process of matching two people together, usually for the purpose of marriage (“Matchmaking”).
“He’s not much of a son, but he works hard. I don’t want to ask the impossible, but if by some chance Chieko should decide someday that a fellow like Ryusuke would be suitable, well … it’s rather brazen of me to ask, but if that were the case, could I ask you to take him as an adopted son-in-law? I would formally disinherit him so that he could marry into your family.” He lowered his head. (p.177)
At that time, matchmaking is an old tradition in Kyoto. They are accustomed to that. Women will marry the man who is chosen by her parents. They are educated to obey their parents, likewise Chieko.
“Are you completely obedient to your parents?” “Yes, completely.”
“Even when it comes to something like marriage?”
Nevertheless an unexpected thing happens when Mizuki has a conversation with Takichiro. Suddenly, Mizuki cancels his plans after Takichiro tells him about the origins of Chieko, that she is an abandoned child (p.178). In their culture, the origin is very important. Mizuki does not want to take an abandoned child as his daughter-in-law because Chieko is not included in Mizuki’s criteria. He applies the three criteria, namely pedigree, quality, and rank, to screen his prospective daughter-in-law (Anonymous, 2000).
He goes back on his promise, from saying that he will send his son as a son-in-law to saying he will send his son as an assistant.
“Well … please keep in mind what I’ve said. May I send Ryusuke to your shop as an assistant?”
“Yes.”
“Thank you. Thank you.” Mizuki’s whole body seemed to relax. Even his manner of drinking changed. (p.178)
As a son, Ryusuke obeys what his father says. He is willing to accept his father’s decision, which ensures that he cannot be with Chieko. Even so, Ryusuke still tries to act normally and continues to help Chieko. Ryusuke’s attitude changed. He looks in a hurry and does not want to stay at Chieko’s home after work.
The next morning when Ryusuke came to Sada’s shop, he quickly gathered the clerks together to take inventory. He just watched, saying nothing. Since Ryusuke’s last visit, the head clerk had been shy of him; he did not even lift his eyes.
The Sadas tried to get Ryusuke to stay longer, but he left before supper. (p.61)
to Abrams theory, Chieko’s tragedy is defined as the representation of serious and important actions which turn out disastrously for the protagonist, or lead character (1993, pp.201-202). Nevertheless, by the cancelation of an arranged marriage, Chieko knows that Ryusuke does not really love her. His love is not a true love.
Chieko’s tragic life, and that her match to Ryusuke was canceled due to her being an abandoned child, has cultural value. According to Vansina, Chieko’s tragic life testimonies through the medium of certain cultural concepts because it concerns time and historical development, which distort chronology and the historical perspective (1965, pp.97-108).
4. Her Loneliness for being Left by her Twin Sister
According to Barrow and Martin, loneliness does not apply only to certain people. It may have always been a part of our lives. Again, it may be apparent only in special situations or at particular times (1975, p.21) Chieko feels so lonely; she feels as if she is living alone in this world. She feels that, though she lives close to Naeko, they will never unite. The growth of two violets in front of her house is viewed as representing her relationship with Naeko. (p.96).
Tonight a light had been put in the Christian lantern. She could faintly see the violets growing in the two hollows of the great maple.
There were no flowers on them now, but the two small violets in the upper and lower hollows-were they Chieko and Naeko? It looked as though the violets could never meet, but had they met tonight? Looking at the violets in the dim light, Chieko was again moved to tears. (p.96)
want another child but cannot. Takichiro really hopes that Naeko is willing to live with them.
“If she has some problem or difficulty, please bring her home with you. We’ll look after her.”
Chieko cast her eyes down.
“It would be wonderful to have two daughters. Your mother and I would both be very happy.” (p.163)
However, Naeko is still adamant that she does not want to stay with Chieko. Chieko tries to seduce Naeko and tells her that they are expecting her.
“What do you think my father said?” Chieko shook Naeko all the harder. “He said, ‘If that girl Naeko needs help, bring her here. You are registered as my daughter, but as I can, I’ll be impartial and treat her well. She’s probably sad there all alone.’”
Naeko really does not want to stay with Chieko. She gives a sign to Chieko that she does not want to live with her in Takichiro’s home. There, Chieko feels very lonely and feels that her existence is not required by Naeko.
“These are for you. Come again … please.”
Naeko shook her head. Chieko stood for a long while against the red lattice door, watching as Naeko walked away. Naeko did not look back. A few delicate snowflakes fell on Chieko’s hair, then vanished. The town was as it should be, still silent in sleep. (p.182)
Naeko has some reasons why she does not want to stay with Chieko. The first reason is Naeko does not want to see Chieko mocked by the people because she is twin. Twenty years before, there was a tradition that twins could not be accepted in society. However, Naeko does not know that the situation has changed.
The second reason is she does not want to cause trouble for Chieko. She thinks that Chieko has a happy life and gets lots of love from Takichiro and Shige. “I don’t know why, but somehow I thought that is how it was. I’m sure you grew up with their love.” (p.89). She thinks if she joins in Chieko’s life, she will be an obstacle to Chieko’s happiness.
“It’s not that. I told you before, Miss. I don’t want to be even the slightest obstacle to your happiness.” Naeko lowered her voice. “I’d rather disappear completely.” (p.180)
The third reason is Naeko feels guilty with Chieko for her parents’ mistake. She feels guilty because Chieko was abandoned by them, not her.
Chieko was silent, so Naeko continued. “Miss, you are the one that my parents abandoned. I don’t know why.”
“But I’ve forgotten that,” Chieko said without pausing. “I don’t even think of it. It’s as though I never had any such parents.”
“I think … perhaps both of them have received their punishment. I was just a baby, but please forgive me.” (pp.179-180)
