Thursday, 7 September 2017

Two more clues for Terry as Anohito

This painful scene has now lit a new understanding for me
(Chapter 7, art by Igarashi Yumiko, story by Mizuki Kyoko)

Recently, a combined effort between me and Nila has led us to find two more clues for Terry as Anohito. They are from Vol 2 pp 196 and 237. I think the clue at p 237 is more glaring and impactful, but nonetheless, the clue at p 196 is also interesting. The justifications are as follows, thanks to Nila for the original scripts and Kanji assistance. Tanoshikatta ne!

Anohito laughing at Candy’s mistake

Nila asked me to check the translation Candy's retrospection in Vol 2, p. 196. This is when Candy was thinking about Dr. Leonard (at the St Joseph’s Hospital in Chicago). Candy thought Dr. Leonard as a ruthless person, but later she realised that he was just being a professional doctor, thus he reprimanded Candy for treating Albert without an authorization. Later, when he became the director, Dr. Leonard abolished Room #0 in the hospital, effectively stating that all patients must be treated equally. In this monologue, Candy was saying this (last line of p. 196):


hito wa gaiken de handanshite haikenai, to sanzanmanandekita hazunanoni,  watashi to kitara, imada ni miayamaru koto bakaride , ano hito ni warawareteiru .

 A person should not be judged based on his/her outward appearance; I have learned as much from experience many times. Yet, when I keep repeating the same mistake, that person just laughs at me.

Please note that 笑われている (warawareteiru) denotes present time (present tense – “te-iru”), hence I use the present tense in the second part of the sentence.

It also means that the Anohito in Candy’s retrospection here was her husband, because she was speaking in the present tense (back in the late 1930s).

Now, I am aware that the next part of the passage would create an impression that Albert was the Anohito Candy referred to in p. 196.

Vol 2, p 197 (first lines):

当時の わたしはアルバートさんフルネームさえらなかった.
アルバートさんアルバートさんなのだ, となんのかなかった.
アルバートさんが, 存在しているだけで思議包まれた.

arubāto san ---.
tōji no watashi wa arubāto san furunēmu sae shiranakatta.
arubāto san wa arubāto sanna noda , to nan no gimon moidakanakatta .
arubāto san ga , sonzai shiteiru dake de fushiginaanshinkan ni tsutsumareta .
imanara sono mienai ito ni tsunagareta kizuna no imi gawakaro .

Mr. Albert…
At that time, I didn’t even know Mr. Albert’s full name.
I didn’t have any problem to accept that Mr Albert was Mr Albert.
Albert-san’s existence wrapped me in a strange sense of security.
Only now, I understand the meaning of the invisible ties that bind us.

However, linking Albert with Anohito just because he was written directly after the Anohito sentence is incorrect for a very obvious reason: in her monologue in the present moment, Candy addressed Albert as “Albert-san” or “Mr Albert”. Unless Candy’s present time was in the Edo, Regency, Victorian or Edwardian period (or any period beforehand), she would not have addressed her husband as Albert-san. She would address him as just “Albert” or “Bert”. In fact, had it been during the Regency period, she'd address her husband as "Mr Ardlay" instead of "Mr Albert". Regarding the "invisible ties" (mienai ito), it doesn't always refers to lovers. There are ties that bind between close friends, sisters, siblings, a mother and a son, etc., so that phrase does not necessarily convey romance (I will make another post about Albert-Candy dynamics one day).

Moreover, Candy then immediately talked about the letters from Terry in the passage afterwards.

テリィからの手紙そして, り抜き­­––– いい評判むのがつらくなるような.

Terry kara no tegami no taba. Soshite, kōen no kirinuki ––– ī hyōban mo yomu no ga tsuraku naru yōna .
hyōban mo minna Terry na noda, to shimattearu.

A bundle of letters from Terry. Also, clippings of his public performances –– all the good reviews and critics that are heart-breaking to read, all are Terry’s and I put them back.  

The passages in Vol 2 pp 196-197 can be confusing if the sentences are not analysed properly
because a passage about Albert (first lines of p 197) directly follows
the passage about Anohito laughing (last line of p 196)

Thus, I think we should not link the passage where Anohito laughed at Candy’s mistake (of misjudging a person based on appearance) with the following passages about Albert or Terry. The passage of Anohito in the last line of p. 196 is a stand-alone passage. Afterwards, Candy could have been talking about Dr Martin, and it’s also valid that she suddenly talked about Dr Martin (or Sister Lane, or even Eliza). It was her monologue, her mind jumped from one memory to another.

Thus, we should analyse the sentence about Anohito laughing at Candy’s mistake as an independent entity in this passage. Thus, we return to this stand-alone passage:


hito wa gaiken de handanshite haikenai , to sanzanmanandekita hazunanoni,  watashi to kitara, imada ni miayamaru koto bakaride , ano hito ni warawareteiru .

 A person should not be judged based on his/her outward appearance; I have learned as much from experience many times. Yet, when I keep repeating the same mistake, that person just laughs at me.

This Anohito seems to have a knack of laughing at Candy’s mistakes, for he found them humorous. I recall that Albert was chuckling when Candy failed to make dinner in manga Chapter 9, but he was not laughing (warau). I give it that Albert is more calm and collected than Terry; although Albert would find Candy’s mistake funny, he’d chuckle at that instead of laughing at that. 

Albert chuckling at Candy's antics, Chapter 9

Albert winking at Candy's blunder, Chapter 9

On the other hand, in Chapter 4, Terry laughed out loud when Candy told him that she called Sister Grey “an old hag” (although Terry became subdued afterwards when Candy told him that she was banned from the May Festival).

Chapter 4

Terry also laughed at the blushing Candy after he rescued her from the near-fall from a tree they climbed in Scotland.

Chapter 4
Still pulling her legs... (Chapter 4)

Thus, based on the habits of Terry and Albert, I conclude that the Anohito in the last line of p. 196 is Terry.

The heat of Terry’s chest (Vol 2, p 237)

This clue is a very prominent clue that Nila and I almost jumped up and down when we realised it. To think that it has been sitting there for almost 7 years for us to find…

From Vol 2 p 237 when Candy was reminiscing the painful separation in New York. She recalled how Terry’s voice was during the separation as he hugged her from behind:


“mōsukoshi…… konomama de……”. Teryi no koe. Watashi no daisukina fukami no aru Terry no koe

“A bit longer… just like this…” Terry’s voice. Terry’s deep voice that I love the most.  

Chapter 7

Candy also remembered how Terry’s cold tears dropped onto her neck. She then recalled how:


watashi o idakishi no ta terī no mune no atsu sa wa ima mo watashi no naka de hageshiku myakūtteiru.

The heat of Terry’s chest that embraced me is still pulsing violently within me.

The most important part of that sentence is the use of 今も (ima mo, “now also”) and “te-iru” in the っている (myakūtteiru). Those words denote present tense. Thus, the last sentence on this passage definitely indicates Candy’s present state in her monologue. 

It means that the heat of Terry’s chest IS indeed still pulsing wildly within Candy during her recollections. If Anohito is Albert, Candy wouldn’t smile to Anthony in her dreams, saying that she is living with the man she loves (in this case, Albert), yet she still feels Terry’s warm chest leaping violently inside her in her present moment. That is not Candy. Candy was a girl who lived a life of integrity, of authenticity. She would not marry Albert if she still had emotions for Terry pulsating wildly inside her heart. There’s no way that this Anohito is Albert then. 

Thus, although there is no “Anohito” in this passage, the last sentence on this section definitely indicates that Terry is Anohito.

Thus, so far we have collected 14 cases in Candy’s monologue where 11 of them are definite clues for Terry, while 3 of them are applicable for both Terry and Albert (no clues attributable to only Albert). Without even pulling out a statistic test, one could see that the indications for Terry overwhelms indications for Terry or Albert. Thus (feel like a broken LP now...): Terry is Anohito ^_^

But what if we plug the numbers into a statistical test?

To be continued in the next post…


Anneth White said...

Hi dear Icha, I totally agree with you and Nila, also i want to tell you that all the girls that are following the Spanish translation in wattpad reached the same conclusión afer Reading that episode. In the italian edition of the novel that paragraph where Candy talks in present about her husband laughing about her repeated mistake is separated from the rest of the text after and before, so the translator made a very good job showing the difference in times of the retrospection and the present.

Also we know terry is the one that changes of mood so suddenly and likes to laugh with candy´s mistakes or wants to make Candy believes she is wrong. Remember how he laughed when she met him in the ship and she realised he was crying....

About Candy feeling in her heart still the deep sorrow for having to leave Terry at the hospital so many years before is the confirmation her love is still there in Avon, and adult woman that loves so much Terry still... and the answer is she can express that feeling still because he is her husband. Otherwise there won´t be any comment about that "past love" if she is HAPPY WITH ANOTHER MAN, or she will be telling lies!!! and whe know Candy is a correct, sincere, sensitive women!!!

Hugs for both of you ladys!!! i am so glad to know Nila is finding also with you several new confirmed clues!!!!

Icha said...

Hi dear Anneth!

"In the italian edition of the novel that paragraph where Candy talks in present about her husband laughing about her repeated mistake is separated from the rest of the text after and before, so the translator made a very good job showing the difference in times of the retrospection and the present."

Oooh, how nice! I have the Italian editions now, so I will check that passage later.

"the answer is she can express that feeling still because he is her husband."

True... true...

Thanks a lot for the comment again and also for the new info about the Italian edition!

Also, I'm now somewhat happy that we don't have the English translation yet, for we might end up with a bad translation that does not heed the nuances in the Kanji characters and grammatical forms that Nagita used in the novel... By studying the JP novel ourselves, we know now what happens, hence we can better inform ourselves if an English translation is ever published!

sweetpoupee said...

Hi Icha-

Your detailed analysis and comments are well-thought out and reflective of your deep knowledge of the story! This is very impressive indeed.
I wanted to point out that there are key nuances missing that can provide deeper meaning to your postings, like how a non-Japanese reader gets tripped up on the "-san" honorifics of addressing people in the Japanese language.
There is no equivalent to this in western language, but everyone is called -san or -chan, based on the perception and relationship to the person. Albert -san in English would be translated to "Albert" esp. given the context of how Candy's relationship and manner in speaking, there is a familiar association so the formality of- san, (Mr) does not apply. I am a bi-lingual native, btw.

I will be posting my Japanese to English translations soon, please be on the lookout for it at sweetpoupee. com. I hope you find it of interest.

Icha said...

Hi Sweet Poupee,

Thank you so much for your comment! Ah, okay, I see now. Thank you for clarifying the さん san honorific for me. I suppose, provided the context and era (pre-WW 2), it's plausible for Candy to call her husband with "-san", though I still find it interesting that she called Terry just "Terry".

Since I posted the articles last year, I have been improving my Japanese, hence reading kana and some simple Kanji characters are easier for me now. However, I still have so much to learn, hence よろしくお願いします!

あと, I am looking forward to your translation!

Are you a robot? said...

How does she call all other boys in Japanese? Does she add kun or san to their family name like most of Japanese would do? No she calls them by their first names like an American would do. Albert is older and it would be impolite to call him just by his first name, even for an American, so Mr. is used.

Icha said...

Hi "Are you a robot",

I'm not sure which of us (Sweet Poupee or me) the comment is directed to. But I have some scans of the manga and I have the JP ver of CCFS, and in both versions (also in the anime), Terry is called without くん or さん. Other boys are called with just their names as well in the JP version.

Not sure if Sweet Poupee will detect this comment, but she might be able to answer this Q better. Thanks.

sweetpoupee said...

Yes, "Are you a robot?" that is true in that in Japanese, it's rude to call someone older without the -san. Even if one is a close friend, the san is applied due to the age.

But I am referring to the translation to English, we don't have something comparable in English, as we don't call people older than us, even people we are friends with, with "Mr" in front of their names.
Albert would not be Mr Albert in English. I wouldn't call my older neighbor or co-worker or friend with Mr Tom or Mr Michael. That formalization does not apply in the english language and it just doesn't work in English.

Icha said...

Sweet Poupee, thanks for the reply.

I do wonder though about the "Mr" thing. In period drama (around Jane Austen era), a woman would actually call a respected male friend as "Mr". In Austen's "Emma", Emma called George Knightley ("Mr Knightley") despite already knowing him since she was a child (the age difference between them was about 16-17 years). A wife would call her husband "Mr" as well (Mrs Bennet called her husband "Mr Bennet" in Pride & Prejudice). A woman can also be called "Miss" + her first name, such as "Miss Lizzy" (calling Elizabeth Bennet as "Miss Bennet" was not correct IMO because Lizzy wasn't the first daughter of the house).

I'm not sure if by the turn of the 20th CE, wives would still call their husbands as "Mr" (Downton Abbey doesn't indicate as such). But in Downton Abbey at least, some women still called other men "Mr".

I thought I just mention it to bring back the temporal context, that we're dealing with a novel that is not set in a modern era. Hence, translating "Albert-san" to "Mr Albert" is actually not incorrect, IMO, when we consider the time frame.

sweetpoupee said...

Hi Icha,

If we are dealing with accuracies in temporal content, yes. But Candy Candy in content is not historically accurate - look at the fashion of Albert ( sunglasses, denim and long hair was very 70''s), even speech is written in modern vernacular. I would not adhere to accuracy of temporal times-- modern terminology that didn't exist or was used in the 1900's -- like Terry flustering Candy on "kansetsu kiss" (swapping intimate saliva of her harmonica-- indirect kiss) is a very modern term, but it's in Candy Candy during the 1900's.

IF we are translating in today's terms so that today's reader can understand, I would omit the "Mr" in front of the name, because that title was used more for formality (respecting the age) instead of intimation ( relationship status: friend, or business associate or brother or classmate). Since we don't have such existing now in English, and to prevent more misrepresentation , I was clarifying the use of "Mr" in today's terms.

I don't call my neighbor across the street Mr. Rob. He would think it's weird. I just call him Rob, and he's three years older than me. I don't call anyone even at work Mr in front of their first names. That rule of honorific respect because of age is not practiced here in the US. No one does this here. :)

Icha said...

Hi Sweet Poupee,

Thank you for your explanation. I think you're correct that CC is, more often than not, isn't historically accurate.

Re, calling someone "Mr+first name", I wasn't referring to the modern day. If we want to call someone Mr, we need to use the last name for that (hence Mr Grandchester or Mr Ardlay). But I seem to recall a context in Jane Austen or Bronte where a male is referred to as "Mr+first name" as an endearment. I could be wrong. I might have mixed it up with "Miss+first name" like "Miss Lizzy".

So, in Japanese, can the term "Albert-san" for Candy have similar familiarity with just "Terry" or "Stear"?

For instance, in Musashi 2003 Taiga drama (that I've been watching), Otsu called Musashi (her childhood friend turned companion) just "Takezo", but she called Matahachi (her childhood friend) as "Matahachi-san". Both men were dear to her, but to Takezo/Musashi, she didn't use the honorific because he was the closest person to her, while for Matahachi, she used the honorific "san".

sweetpoupee said...

Hi Icha,

Yes, I understand what you are saying, in terms of the usage of titles with first names which was commonly practiced in the past in the UK and the US; it was practiced widely up until the mid century and it is still used regionally like in the Southern US ( I have noticed it when I spent time in that region) but it has pretty much gone out of practice everywhere else. I noticed that it is also practiced as a stylized form of speech or endearing nickname on some occasion, but it's not common practice.

As for the Japanese usage, in your reference to the Taiga dramas (they are so good, aren't they?)
You are correct that they omit that -"san" to those most familiar, but women still do apply it to their husbands today, it just depends on the person. Some people see their husbands as best friends and so close that they don't use it, some will apply it because they have a sense of deep respect. It just depends, but it doesn't necessarily mean one is more distant/formalized than the other, even if they address them as "san" that relationship can also be one of deep affection.

As for Candy (in CCFS) she chose to address Albert differently based on which aspect she was referencing: For his business persona— when she was referring to William Ardley, she used "sama" - in the photo in Miami, or when he wanted to hang her drawing of him in his office ( when he was in his business/title persona) , but when she was speaking to him intimately as Wee Bert, she dropped the "sama" and "san"; there were no honorifics/titles. Since she called him Albert-san since she first met him when she was a lot younger, that still remained. But their relationship was changing.
Who knows what she would end up addressing Albert in time ( due to their growing relationship, Candy wrote in her third letter how he was much,much closer and she promised to stop addressing him in certain ways) but we never did get to see what happened in the time period after the letters/Epilogue to see how the usage of "San" might have changed.

Along the same vein-- an interesting thing to note in regard to Japanese nuances, I just updated my comments on my translation of Terry's letter to Candy in CCFS. Nila just asked me why the Italian translation started with "Dear Candy", but I had left the translation bare as "Candy--" only.

That was a big nuance that was missed. The Japanese language is very indirect and heavy on awareness of the perception/ relationship of the addressee based on the language used. Nagita sensei deliberately stripped everything in Terry's letter so that he was expressing himself in the barest form, showing his raw emotion and vulnerability. The Japanese are rarely ever so direct. By doing so, it showed Terry's feelings for Candy and that it never ever changed since the time he last saw her. He was addressing her without any formalities/politeness as the norms would dictate— he had not been in touch with her for years. Normally people would have a bit of formal distance because they are uncertain of being too familiar, but Terry chose to reveal himself to Candy in his barest form.

It's too bad the Italian translations missed this because it took away from the flow and effect of Terry's letter.
In the Japanese text, there was no honorifics, no "Dear Candy". It was just : "Candy--" . It is a touching, beautiful letter. It takes my breath away every time I read it, on how something so stripped to its barest form can powerfully declare Terry's deepest yearning and unwavering love.

sweetpoupee said...

Hi Icha

I just re-read your question, and I don't think I answered what you were asking in my previous response ( I am unable to view what I wrote at the moment) , so apologies on that.

Yes, the usage of "San" can also mean that the person addressed can be as familiar as "Terry" or "Stair". This honorific/title is applied at the time of initial meeting, so it reveals the degree of relationship when it was used ( Candy was a child when she met Albert, so naturally the "san" would be used).

As I stated in a previous message, the relationship has changed significantly in time ( Magnolia, her stating they were much much closer in the letters, etc. Also note that the usage of "San and Sama" were being dropped in her letters to Albert— depending on which aspect of Albert she was addressing.
(Japanese is a complex language, lol). We don't know if she would have eventually dropped the "San" for Albert after the letters, but we do not know this.

Since it can cause confusion to those who aren't familiar with the usage and when it is omitted ( like in the Musashi Taiga drama). This is why I don't use the "Mr" when referring to Albert in my translations to English. That level of formality tends to misrepresents the perception of a person and cause confusion.

But yes, to answer your question, people can call men "san" — even some wives call their husbands "san", it's a matter of personal preference and not necessarily indicating degree of formality. :)

I hope I answered your question.

Icha said...

Hi Sweet Poupee,

Thanks a lot. Yes, I understand your explanations.

Btw, I only have watched three Taiga dramas (Musashi 2003, Gō 2011 (?) and Taira no Kiyomori 2012), but I love them all!

sweetpoupee said...

I don't get to watch them often, but my faves:
Komyo ga Tsuji (2006) and of course.... 2010's Ryomaden.
Phenomenal.... :)