Hototogisu, be written as 不如帰 (1st third)

Hototogisu

The Hototogisu is the masterpiece of Tokutomi Roka, one of the most famous Japanese novelists. While the English translation uses the heroine’s name, Nami-ko, as its title, in Japan, the title Hototogisu is written 不如帰 (Fujyoki, which means would better come home).

This name comes from a traditional Chinese legend story of one emperor who has no ability to save his people but eagerly wants to do that. After the other person saves his country and his people, the emperor gives his throne to this man and leaves his own country. He dies someplace, but none knows, and his soul becomes a cuckoo bird and tells people to care about their farmland every year. However, every time the cuckoo sounds its alarm, it spits out blood. Because of that, the cuckoo is always connected to sorrow and regret around Asian-culture based countries, including China and Japan.

While the English version omits too many details, I read the original Japanese version. In the first third of the story of a pitiful new-married girl Nami-ko, every character appears with their specific and exaggerated characteristics, her father who loves her so much but uses his method of balance; her husband who also loves her but cares nothing about people around their lives; her step-mother who hates her due to the jealous and prejudice; her brother-in-law who wants to marry her at first for higher status and military rank.

“上州(じょうしゅう)伊香保千明(いかほちぎら)の三階の障子(しょうじ)開きて、夕景色(ゆうげしき)をながむる婦人。年は十八九。品よき丸髷(まげ)に結いて、草色の紐(ひも)つけし小紋縮緬(こもんちりめん)の被布(ひふ)を着たり。
色白の細面(ほそおもて)、眉(まゆ)の間(あわい)ややせまりて、頬(ほお)のあたりの肉寒げなるが、疵(きず)といわば疵なれど、瘠形(やさがた)のすらりとしおらしき人品(ひとがら)。これや北風(ほくふう)に一輪勁(つよ)きを誇る梅花にあらず、また霞(かすみ)の春に蝴蝶(こちょう)と化けて飛ぶ桜の花にもあらで、夏の夕やみにほのかににおう月見草、と品定めもしつべき婦人。”

At the beginning of the whole story, Tokutomi describes this beautiful madam waiting for her returning husband, and starts by depicting her melancholy emotion in order to foreshadow their tragic fate after these peaceful honeymoon days.

Beyond the omniscient viewpoint, readers can see how people who are cherished by Namiko and her husband are planning to ruin their newly-married life to fulfill their selfish desire and personal prejudice. By reading those dramatic plots and their exaggerated emotional changes, readers will feel nervous about the innocent and powerless heroine, Namiko.

Among all those characters who only consider of themselves, Namiko looks selfless and polite to everyone, even to someone who had or tried to hurt her.


Japanese Version: http://www.aozora.gr.jp/cards/000280/files/1706_44742.html

Hototogisu (Nami-ko): The Third Book

        The third book of Nami-ko opens with no shortage of melodrama, as Tokutomi Roka paints a scene of blood, gunpowder, and carnage on Takeo’s warship. The chapter opens with Takeo shown lamenting, “(a)s never a day passed without thinking of her, so it must be with her, too. Did they not pledge to live and die together?” followed by a dramatic and action-packed battle between the Chinese and Japanese navies. Takeo’s guilt over his pledge to die with his now ex-wife keeps the reader at the edge of their seat as the battle rages on, casting a dark shadow on what may become of Takeo’s fate. Roka further creates suspense by ending the chapter with Takeo having been wounded, drifting in and out of consciousness as he watches “crimson vapor wreathe before his closed eyes” as he is lifted up by a fellow sailor. It is not until the next chapters that the reader is reassured that Takeo’s earlier mourning was not foreshadowing an early demise. 

        As the raging battle dramatically reflects Takeo’s state of mind, the contents of Nami’s heart are mirrored in the vengeful return of the tuberculosis that is consuming her. With Takeo no longer by her side, cruelly cast away by her Mother-in-Law, Nami awaits death’s embrace. However, to Nami’s dismay, even death is not on her side as she manages to miraculously recover from her would-be fatal disease. Knowing that Takeo still loves her but is unable to be her husband, she regards her return to good health as a curse worse than death, wondering, “was life still worth living to one who was suffering from an incurable disease, and was yearning after an impossible love?” Faced with such torment, she prepares to throw herself into the sea, recused in the nick of time by an anonymous grasp, leaving the reader with a cliffhanger similar to that of Takeo’s earlier near-death. 

       Color theory, as in other melodramas, is used to represent the fight between good and evil. The color of white, whether it be the full moon beaming down on Nami as she says a last goodbye to her loved ones, the shawl that Takeo places around her shoulders, or the chrysanthemums placed on her grave, symbolizes Nami’s unmarred purity, especially bright in contrast with the wicked intentions of her Mother-in-Law.

The Love Suicides at Amijima (心中天網島)

The Love Suicides at Amijima (心中天網島)

The Love Suicides at Amijima (心中天網島) is a domestic play directed by Masahiro Shinoda (篠田 正浩) in 1969. This movie was adapted from a three-act play by dramatist Chikamatsu Monzaemon (近松 門左衛門) in 1971. It is a beautiful but sad story about suicide.

Koharu is a young geisha at the Kinokuni House. She falls in love with a married paper merchant Jihei. Jihei loses interest in his wife, he just wants to marry Koharu. However, in the beginning, Jihei has not enough money to ransom Koharu. After three years, Jihei still can’t fulfill his goal. However, at that time, a rich man named Tahei ransoms Koharu in advance of Jihei. Koharu doesn’t wish to follow Tahei. So she wants to commit suicide with Jihei for love. But Jihei’s family tells Koharu that they don’t want Jihei to commit suicide. And so then, Kohura chooses to pretend that she doesn’t love Jihei anymore. After knowing Koharu would be ransomed by a rich man, Jihei’s wife Osan foresees Koharu would choose to commit suicide. So, Osan also agrees that she would go back to her family and leave Jihei. Fundamentally, after that, Jihei is divorced from his wife. Therefore, he has no choice but find Koharu and elope. In the end, Jihei finds Koharu. At Amijima, they stop here and say love to each other. Finally, Koharu asks Jihei to kill her, and then Jihei kills himself. A few days ago, their bodies are found under a bridge.

In this melodramatic story, Jihei tries to look for freedom and love. As a traditional merchant, he is bound and he feels depressed. In addition, I also think it is an irony for feudal social system. Finally, Jihei and Koharu overgo the gap of their social class and die together. Jihei and Koharu find a way to totally liberate their selves.

I think suicide is a common element in Japanese literature and arts. Suicide is an important content for us to know Japan. In Thomas Elsaesser’s article, he said that “Melodrama is often used to describe tragedy that doesn’t quite come off.” (65) - Thomas Elsaesser (Tales of Sound and Fury) As an end of this story, I still confused that whether it is a bad ending. Maybe this ending is the best way for Koharu and Jihei.

The style of this drama is very special. It adopted Joruri(浄瑠璃), a traditional Japanese narrative music as a storytelling. It makes this movie seems more interesting. The music by Takemitsu Touru also successfully created the depressed and traditional atmosphere.

The Story of the Last Chrysanthemum/ 残菊物語

The Story of the Last Chrysanthemum (残菊物語) is a 1939 film directed by Mizuguchi Kenji. It focuses on the story of Kikunosuke and Otoku.

Kikunosuke is the adopted son of a famous Kabuki family. Though everyone praises his acting, he is actually terrible. Only Otoku, a hired nursemaid, tells him the truth. When Kiku's family catches wind of this, they fire Otoku, and Kiku is disowned for not giving her up. He then goes to Osaka, where a year later, the lovers reunite. Various events lead them to lead a destitute life wandering the provinces until a chance for Kiku's redemption and reconciliation with his family presents itself.

The plot has several traits strongly associated with melodrama: the difference in social class between lovers, the disapproval of their society over their relationship, the lengths the lovers must go through to be together, and the eventual redemption of Kiku.

However, Mizuguchi focuses not on Kiku's journey, but on Otoku's. Kiku may go through the arc of an artist bettering themselves, but we never really learn what he does, or how he becomes better. Is it because he has suffered? Or is it because he learns something about human spirit from Otoku? In contrast, Otoku sacrifices and works to support Kiku's dream. Not because she is in love with Kiku, though she is, but because she truly believes that he can become a better actor. 

If this is a melodramatic story, then we should be able to ask ourselves if the ending is a Good one or a Bad one and find an answer. It is Good because Kiku becomes a famous and recognized Kabuki artists, the lovers are reunited again briefly, Otoku has achieved her goal? Or is it Bad because Otoku has been neglected, cast aside, and left to die? In the moral universe of this movie the answer can be a little muddled.

"Music in melodrama is a dramatic narrative in which musical accompaniment marks the emotional effects.” - Thomas Elsaesser (Tales of Sound and Fury)

Use of Music in Story of the Last Chrysanthemum:

•  Accompaniment music: chanting, song, koto, shamisen, drums. Helps set the mood and inform environment.
• Motifs: Kiku - Kabuki Music, Otoku - silence, wind chimes. 
• "High" music and provincial music.