Two more clues for Terry as Anohito

This painful scene has now lit a new understanding in 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):

ひとは外見で判断してはいけない、とさんざん学んできたはずなのに、わたしときたら、未だに見誤ることばかりで、あのひとに笑われている。

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):

アルバートさん---.

当時の わたしはアルバートさんフルネームさえ知らなかった.

アルバートさんはアルバートさんなのだ, となんの疑問も抱かなかった.

アルバートさんが, 存在しているだけで不思議な安心感に包まれた.

今ならその見えない糸につながれた絆の意味がわかろ.

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.

テリィからの手紙の束. そして, 公演の切り抜き­­––– いい評判も読むのがつらくなるような.

評判もみんなテリィなのだ,としまってある.

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:

ひとは外見で判断してはいけない、とさんざん学んできたはずなのに、わたしときたら、未だに見誤ることばかりで、あのひとに笑われている。

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:

–––もう少し……このままで……。テリィの声。わたしの大好きな深みのあるテリィの声。

“mōsukoshi…… konomama de……”. Terry 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.  

(note 18 Oct 2020: There is no time identifier in this passage when Candy said "Watashi no daisukina fukami no aru Terry no koe", but she seemed to talk about it as if it still applied to her present moment by the Avon River. If it was in the past, an identified such as だった (datta) has to be used. Also pls see Footnote 1, for this piece of sentence is grammatically very important to support the notion that Terry is Anohito.)

Chapter 7

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

わたしを抱きしのたテリィの胸の熱さは今もわたしの中で激しく脈打っている。

watashi o idakishi no ta terī no mune no atsusa 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 脈打っている (myakūtteiru). Those words denote present tense (the "te-iru" form denotes present continuous 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…

-xxx-

Footnote 1 (Tuesday 20 October 2020)

Since I'm getting better with my Japanese language, I start to see more meanings in CCFS. One of the examples is the followings:

"watashi o idakishi no ta terī no mune no atsusa wa ima mo watashi no naka de hageshiku myakūtteiru."

Which indeed indicates that it is happening in Candy's current time (due to "ima", "mo" and "-teiru"). Thus, my translation ("The heat of Terry’s chest that embraced me is still pulsing violently within me") should be grammatically correct. That is, in her present time, Candy was still feeling the heat of Terry's chest inside her.

The second observation is regarding this sentence:

"Watashi no daisukina fukami no aru Terry no koe."

The "fukami no aru Terry no koe" means "Terry's voice that has a depth", but it's easier to translate it into "Terry's deep voice". 

If we replace "fukami no aru Terry no koe" with "neko" or cat, we get "Watashi no daisukina neko" -- my beloved cat.

There is no time identifier in that sentence. If we want to make it a past tense, I must use だった (datta) or でした (deshita).

(I asked my Japanese sensei whether I have to use だった or でした to indicate the past tense of a noun or a situation, and she confirmed that I must use one of them to indicate the past tense. The absence of だった or でした in this grammar means that the sentence is in present tense)

Thus:

"Watashi no daisukina neko datta" -- 私の大好きな猫だった。

"Watashi no daisukina neko deshita" -- 私の大好きな猫でした。

"The cat that I used to love."

But if I write only the followings: 

「私の大好きな猫。」

the absence of time identifier makes it applicable only to present tense. Hence:

"The cat that I love" or "my beloved cat".

Thus, coming back to the original sentence:

"Watashi no daisukina fukami no aru Terry no koe."

 if we want to make it into past tense, it should be written as:

"Watashi no daisukina fukami no aru Terry no koe datta."

「私の大好きな深みのあるテリィの声だった」

or if we want to make it formal:

"Watashi no daisukina fukami no aru Terry no koe deshita."

「私の大好きな深みのあるテリィの声でした」

The meaning is the same for both だった or でした:

"Terry's deep voice that I used to love"

Nonetheless, the absence of a past time identifier would make this sentence translatable ONLY into present tense, hence:

"Terry's voice with such a depth that I love the most" or "Terry's deep voice that I love the most".

Is Candy a woman who would say that she loves (present tense) Terry's deep voice with such an intense emotion if she is married to Albert?

I do not think so. Hence, the fact that she loves Terry's voice (in her present time) means that she is married to Terry, instead to Albert...