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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
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree 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 2012 PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
THE OLD TRADITIONS THAT CREATE LIFE TRAGEDY OF CHIEKO, ONE OF THE MAJOR CHARACTERS OF YASUNARI KAWABATA’S THE OLD CAPITAL
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree 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 2012
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"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)
This thesis is dedicated to my beloved parents: Antonius Riyatmo and Maria Rini Windarti
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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.
Keywords: tradition, tragedy, major character, The Old Capital
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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 mengajar Paragrah Writing.
Kata kunci: tradisi, tragedi, tokoh utama, Ibu Kota Tua
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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 Riyatmo and
Maria Rini Windarti for their never ending support, patience, and prayers. I am sorry for taking so much time in finishing my thesis. My gratitude also goes to my brothers Iput and Yoga. My special gratitude goes to my grandpa SY. Paiman
Siswosudarmo, my Uncle De Wik, and my Aunts Lek Anti and Lek Mami for their prayers and motivation.
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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, and TK 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 2005 for their love and support in the process of writing this thesis.
Olivera Ika Candra Y
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TABLE OF CONTENTS
Page TITLE PAGE ...... i APPROVAL PAGE ...... ii DEDICATION PAGE ...... iv 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 B. Theoretical Framework ...... 16
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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
REFERENCES ...... 52
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LIST OF APPENDICES
APPENDIX A The Summary of The Old Capital ...... 54 APPENDIX B The Biography of Yasunari Kawabata ...... 56 APPENDIX C Lesson Plan ...... 60 APPENDIX D Learning Material ...... 62 APPENDIX E The Picture of Obi ...... 67
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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 have been read by many people throughout the world. There is no age limit for reading novels; anyone, from children to adults, is able to read novels. Novels can drive readers’ feeling. The readers can feel happy, satisfied, scared, anxious, and/or sad when they read. Some novels teach about life, which helps the readers in their understanding of life. Van de Laar and Schoonderwoerd write that a novel has value because it shows new aspects of our daily life and gives meaning to life, so that life will be more valuable for us (1963, p.162). This encouraged the writer to carry out the study of a novel that can help further one’s understanding of life.
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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.
Such a situation can be found in Yasunari Kawabata’s The Old Capital. It was published in 1962 and cited specifically by the Nobel Committee in 1968 when they awarded Kawabata the Nobel Prize for Literature. It was first translated into English in 1987 by J. Martin Holman. A revised edition of his translation was PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 3
published in 2006 by Counterpoint. The original version of The Old Capital is in the Japanese language, under the title Koto.
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.
Another tragedy is when Hideo betrays her love. Hideo is a weaver who really loves Chieko. He shows his love by weaving an obi for her. Chieko also loves him. One day Hideo meets Naeko, Chieko’s twin. Suddenly he falls in love with Naeko and proposes to her. It makes Chieko very surprised. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 4
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?
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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
According to Abrams, the word character has two meanings. First is the character as a literary genre: a short, usually witty, sketch in prose of a distinctive type of person. Second is character as a person, in dramatic or narrative work, endowed with moral and dispositional qualities that are expressed in what they PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 6
say and what they do (1993, p.20). In his book An 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
According to Gordon, tragedy is human nature or the reasons why humans suffer. 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. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 7
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
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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’s The Old Capital.
3. Theory of Character
Abrams gives two definitions of the word character. First, he states that character is “a literary genre: a short, usually witty, sketch in prose of a distinctive type of person”. Second, he states that character is “the person, in a dramatic or PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 9
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
Rohrberger and Woods state that characterization is an author’s creative process in creating a character. This process consists of describing the character’s physical appearance, style, manner, thought, action and other’s opinion about him or her (1971, p.231). According to Murphy, there are nine ways an author may reveal the characters’ personality and traits to the readers. They are personal description, character as seen by another, speech, past life, conversation of others, reaction, direct comment, thoughts, mannerism (1972, pp.161-173). PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 10
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
Tradition means many things. In its barest it is simply a traditum, anything that is inherited from the past to the present. That is no statement about what is PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 11
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
According to Vansina, the cultural values of a society are those ideas and feelings which are accepted by the majority of its members as unquestioned assumptions. Cultural values are the prejudices and a society. Obviously the aims pursued by each individual are closely linked with these values. However, they also play a major role in the society as a whole, since they are ultimate guarantee of its functioning and perpetuation (1965, pp.95-96). PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 12
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).
Anthropologists have long suspected that twins are born less frequently than among whites in Japan. Japanese mothers Confirmation has been difficult because Japanese mothers believe that to bear more than one child at a time is a bestial act. Therefore, they often hide the birth of twins to separate their children from infancy. (Anonymous, 1936). PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 13
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.
Rank means social rank. Sometimes it doesn't really matter whether your salary is hardly enough to feed the family or not, as long as you have a 'big name' rank PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 14
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.
The Meiji era, (1868-1912) witnessed a revolution in the textile industry with the advent of electric weaving looms and chemical dying techniques from the
West. During this time, a woman's kimono stopped to be worn in the free-flowing PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 15
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.
There are two essential characteristics of tragic man which should be noted if we are to see him as a coherent human reality: the first is that he makes this absolute and exclusive demand for impossible values; and the second is that, as a result of this, his demand is for all or nothing, and he is totaly indifferent to degrees and approximations, and to any concept containing the idea of relativity (1998, p.68). PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 16
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’s The 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.
Third, the theory of tradition and the theory of tragedy are used to solve the second problem the writer. The theory of tradition is used to identify the tragedies happened in Chieko’s life and the theory of tradition is used to identify the kind of tradition in Japan. Those theories are used to support the analysis which deals with the reason why Chieko has to go through her tragic life. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
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 of The 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 Capital is 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 of The 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
Twin Sisters of Kyoto; this film was nominated for the Academy Award for Best
17 PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 18
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.
Chieko goes to Kitayama to meet Naeko. Chieko tells Naeko that Hideo will weave an obi for her, Naeko. She has explained to Hideo that it was not
Chieko when he promises the obi at the festival. Then, Hideo goes to Kitayama village. He meets Naeko to give her the obi and invites her to go to the Festival of
Ages. Unexpectedly, Hideo wants Naeko to marry him. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 19
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
The method used in this thesis is library research. In order to complete the study, the writer needed many sources that are divided into two kinds, namely primary (main) sources and secondary sources. Its main source is the novel The PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 20
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.
Third, the formulized problems were analyzed through the theories obtained in the previous step. This includes the characteristics of the major characters, which provided a better understanding of the reason why Chieko has to go through her tragic life. Finally, the novel was analyzed using the chosen approach, then compared to the original theory. From that, a conclusion was drawn. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 21
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
21 PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 22
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)
Moreover, Chieko’s appearance is old fashioned. She rarely wears
Western-style clothes. It will look strange if she wears Western-style clothes because she is accustomed to wearing the kimono (sort of traditional clothing). In PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 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 has always said she’d be completely obedient.” (p.59) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 24
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.” “Dressed like this, the most I could do is work in the kitchen out of sight.” “That would be fine. We’re making the tea in the back today.” (p.9) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 25
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
Honesty is telling the truth and not lying, cheating or stealing (“Honesty”).
Besides being kind, Chieko is also honest. She tells Shinichi about who she is, an PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 26
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)
Chieko does not only tell Shige the truth about Naeko, but also everyone around her, including, Hideo, Shin’ichi and Ryusuke. Hideo is a person who promises Chieko an obi, but he mistakes Naeko for Chieko. Hideo becomes confused about Chieko’s story. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 27
“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).
Takichiro had an antique foreign carpet spread on the floor from his desk to the cushion where he was seated. And draperies made from fine southern chintz surrounded him. This had been Chieko’s idea. The draperies served to soften the noise from the store. From time to time Chieko changed them for a new pattern, and each time she did so Takichiro understood the gentleness of her heart. He spoke to her of Java or Persia, of some period of history, of the design of the cloth of the draperies. Chieko did not always understand his detailed explanations. (p.22) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 28
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).
Tragedy is defined as a literary form that probes the nature of man or, more particularly, the reasons why man suffers. Since tragedy deals with how man PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 29
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.
“I was in middle school, I think, when my mother called me to her and told me I was not her own daughter, not one who caused her the pain of childbirth. She said they stole a lovely baby and escaped in a car. But mother and father slip up and tell me different stories about where they got me. Sometimes they say it was in the evening beneath the cherry blossoms at Gion. Other times it’s the riverbed of the Kamo. They think it would be too painful for me to know I was abandoned in front of the shop.” (p.16)
However, they lie about where Chieko comes from. Chieko feels strange and does not believe in the story. Their way in adopting Chieko is like in the old story The Tale of the Bamboo Cutter, in which the tiny princess Kaguyahime was found between the joints of a stalk of bamboo. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 30
“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)
Chieko was abandoned by her biological parents in front of the door of the shop. “I was a foundling, left in front of the red lattice door of the shop.” (p.15).
There is a tradition in which twins must be separated. This tradition is done by
Chieko’s biological parents. Twins are not common in Japan. In historical periods, it was believed that having twins was a bestial act; hence it was common to hide this reality by doing separate registrations or in this case of Kawabata’s characters, to be abandoned (Anonymous, 1936). From this situation, the writer infers that her biological parents hope to help Chieko, to make sure that her daughter lives and is cared for. Therefore, they placed Chieko at the door of the shop. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 31
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 felt her heart had been pierced. (p.87) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 32
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)
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. Moreover, her adoptive parents lied about Chieko’s origin, forcing her to learn about her true origins from other people. However, there is a positive side to her life as an abandoned child. She is very lucky because she is raised by a good family and still follows the old traditions. Maybe if she was PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 33
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)
An obi is one of the Japan traditions that has been inherited from the past to the present (Shils, 1981, p.12). An obi is a sash that is wrapped around the waist of the kimono wearer. During this time, a woman's kimono stopped to be worn in the free-flowing 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). In The Old Capital, Hideo wants to bind Chieko’s love so PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 34
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’s face tightened. “Hideo, the girl you talked to was my sister.” (p.110) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 35
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. “She does look like you.” “In what way?” Chieko asked. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 36
“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)
Chieko needs to struggle hard to accept the reality. Naeko tries to explain the events that happened and, gradually, Chieko accepts Naeko as her twin sister.
Then Chieko tells everything about Naeko to Hideo. Chieko asks Hideo to make an obi for Naeko and deliver it to Naeko by himself. Because Hideo loves Chieko, PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 37
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.
“Yes,” Hideo said. “Please come to the Festival of Ages. I’d like to have Chieko see you wearing the kimono and obi, but I won’t invite her. The festival parade begins at Gosho, so I’ll wait for you at Hamaguri Gate on the west side. Is that all right?” PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 38
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)
In summary, it can be said that Chieko’s tragic life is also related to her romance problem. Hideo betrays Chieko. He first shows romantic feelings towards Chieko, but then he proposes to Naeko. At first, Chieko is very surprised when she hears the information. Being the victim of betrayal is usually very painful, but for Chieko it is no problem and she is willing if Hideo wants to propose Naeko. This may be beneficial to Chieko, as Hideo is indecisive and easily distracted by women. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 39
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.
“I suppose you understand, Mr. Sada. Your business is similar to mine, and the reason Ryusuke says he wants to help at your shop is so that he can be near Chieko for even thirty minutes or an hour a day.” (p.177)
Another way Ryusuke tries to become close to Chieko by inviting her on a date. He later takes Shin’ichi with them. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 40
“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.
Ryusuke’s brother Shin’ichi was Chieko’s childhood playmate and friend through high school. He had a gentle disposition, and although she knew that he liked her, Shin’ichi would never have said something that took away her breath the way Ryusuke had. She and Shin’ichi could enjoy one another’s company without such worries. (p.160) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 41
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?” “Yes. For now I intend to be obedient,” Chieko answered without hesitation. (p.17) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 42
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)
In conclusion, Chieko’s life becomes more tragic after she suffers a broken heart. However, the thing that makes her become very sad is when she knows that the match was canceled only because her origins. She feels humiliated. According PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 43
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)
Actually, Takichiro and Shige can accept Naeko living together with them.
They would be very happy to have a new family member, essentially because they PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 44
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.
“Chieko, we’ve raised you since you were a nursing baby. You were the sweetest child anyone could hope for. But we would treat that girl as fairly as we could. If she looks like you, she’s surely a good girl. Bring her here. Twenty years ago twins weren’t accepted, but now it’s nothing,” her father said. “Shige! Shige!” he called to his wife. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 45
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)
Although Naeko does not want to stay with Chieko, she loves Chieko very much. Naeko’s affection to Chieko great; she is even willing to sacrifice her life for Chieko. “If you were ever in trouble, as you were just now, I’d go to protect you, even if it would kill me. You understand that, don’t you?” (p.118).
Therefore, Chieko’s tragic life is influenced by her loneliness. The happiness is very close to her, but she cannot posses it. She can only interact with Naeko, not possess Naeko completely. Naeko does not want to stay with Chieko because she does not want to see Chieko mocked by others because she is a twin, does not want to cause trouble for Chieko, and feels guilty with Chieko for her parents’ mistake. However, she gets the full love of Takichiro’s family because they only have Chieko as her daughter. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 46
In conclusion, her life is touched by hardship and personal tragedy, namely, she is abandoned by her biological parents, her love is betrayed by Hideo, her marriage is cancelled by Ryusuke’s father, and she feels lonely after being left by her twin sister. Those tragedies happened as an effect of the old tradition.
Therefore, Chieko is the victim of the practice of the old traditional values in
Kyoto, namely she is separated from her twin sister. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 47
CHAPTER V
CONCLUSIONS AND SUGGESTIONS
This chapter consists of two parts. The first part is the conclusions of the analysis. The second part is the suggestion for further researchers and the suggestion for English teacher.
B. Conclusions
This part will draw conclusions of the analysis in Chapter IV. There are two problems to solve. The first research problem aims to find out how Chieko is described in the novel The Old Capital; the second research problem is the reason why Chieko has to go through her tragic life. Several theories, namely the theory of character and characterization, the theory of tradition, and the theory of tragedy, have assisted the analysis in this study.
The characteristics of Chieko can be seen from the personal description, character as seen by another, speech, and conversation of others. Based on the
Milligan’s theory of character (1983, p.195), Chieko can be classified as a major character. The first finding says physically, Chieko has got fair skin and has long hair. Her appearance is boring, uninteresting, and old fashion because she always wears plain clothes and is accustomed to wear kimonos. Based on the analysis,
Chieko is obedient, kind, honest, and talented.
Chieko is obedient, as shown by her obeying her parents constantly.
Although she does not like their orders, she will always obey them. Chieko
47 PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 48
dedicates her life to the parents, so she is willing to have her life regulated by them, including as her marriage.
Chieko is a kind person. She helps her friend Masako, her parents, and her twin sister Naeko. Chieko’s kindness is shown when she wants to help Masako to make tea when Chieko is on a date with Shin’ichi. She also really cares about her parents’ feeling. She tries to make them happy by wearing Takichiro’s kimonos.
Chieko also gives her best things to Naeko, such as a kimono, a coat, an umbrella, and high clogs.
She is also honest. She tells Shin’ichi that she is an abandoned child.
Another truth that Chieko tells is about Naeko. She tells Shige, Hideo, Shin’ichi, and Ryusuke the truth, that she has a twin sister named Naeko.
Chieko is talented. She obtains this talent from her father, Takichiro.
Although she is only an adopted child, she can absorb the knowledge. She shows her talent when she gives input to Takichiro about spatial planning and designs an obi.
The second finding says that Chieko is the victim of the practice of traditional values in Kyoto, namely she is separated from her twin sister. From that event, later, come various tragedies in Chieko’s life, such as she is abandoned by her biological parents, her love is betrayed by Hideo, her marriage is canceled, and her loneliness for being left by her twin sister. This analysis is based on the theory of tradition and tragedy.
Chieko is abandoned by her biological parents. It is one of her tragic events in her life. Chieko thinks that she was not expected by her parents. To even PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 49
know of this, Chieko had to learn about her true origins from other people because her adoptive parents lied about her origin. As a teenager, she feels stressed when faced with such a situation. She tells her friend Shin’ichi the truth. Chieko’s tragic life, as an abandoned child, has cultural value. However, there is a positive side to her life as an abandoned child. She is very lucky because she is raised by a good family and still follows the old traditions.
Her love is betrayed by Hideo is related to Chieko’s romance problem. She feels that Hideo betrays her. Chieko loves Hideo and Hideo first shows romantic feelings towards Chieko, but then he proposes to Naeko. Chieko is deeply hurt.
However, there is a positive side to the event. She is very lucky because she can understand the Hideo’s characters, namely that he is indecisive and easily distracted by women. Hideo would not be a good husband for Chieko.
Her marriage is canceled is one of Chieko’s tragic lives. Chieko’s engagement to Ryusuke was canceled only because her background as an abandoned child. She feels humiliated. However, through the cancelation of the arranged marriage, Chieko learns that Ryusuke does not really love her. His love is not true love. Chieko’s tragic life, her match Ryusuke was canceled due to her being an abandoned child, has cultural value.
Her loneliness for being left by her twin sister is one of Chieko’s tragic lives. Naeko does not want to stay with her. Naeko’s has three reasons; she does not want to see Chieko mocked by the people because she has a twin, does not want to cause trouble for Chieko, and she feels guilty about her parents’ mistake.
The happiness is very close to her, but she cannot possess it. However, Chieko PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 50
gets full love of Takichiro’s family as she is their only daughter. Chieko’s tragic life has cultural value.
C. Suggestions
There are two parts in this section. The first part consists of suggestions for future researchers who are interested in analyzing the same novel. The second part consists of suggestions for learning process.
1. Suggestion for the Future Researchers
The Old Capital by Yasunari Kawabata is an inspiring and an interesting novel. The following are some suggestions for further researcher, based on the writer’s reading and analysis of the novel.
Firstly deals with feminism versus traditional values. There is something interesting in this novel about daughters. Most daughters in The Old Capital obey their parents very much. Although they do not like to the orders, they will always obey them.
Secondly is about the symbolism in the novel. There are some symbols in the story which give pictures with mysterious meanings, such as the violet flowers, the lattice door, the obi, etc. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 51
2. Suggestion for Teaching-Learning Process
Literary works, such as novels, can be used as a source of learning process. The writer has some part of Yasunari Kawabata’s The Old Capital to teach paragraph writing.
Writing is one of the four language skill. Practice in writing is important for student, as it allows them to learn to express and develop their ideas and feelings into words and sentences. Therefore, the novel can help students to improve their English vocabulary.
In this study, the writer used the novel The Old Capital to teach paragraph writing to second semester students of the English Education Department. There are several models of writing; descriptive, narrative, procedure, persuasive, and argumentative. In the learning process, the writer gave some paragraphs taken from Yasunari Kawabata’s The Old Capital as a source of narrative writing when teaching. Using the excerpts, the students are able to understand the typical features of narratives. The students also learn how to make several narrative paragraphs using the sentences given as reference material. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
REFERENCES
Aida. (August 20, 2000). Bobot, bibit and bebet. The Jakarta Post.
Abrams, M. (1993). A glossary of literary terms. Orlando: Hat, Rinehart & Winson, Inc.
Barrow, L & Martin, P. (1975). Understanding loneliness. Sydney: Antipodean Publishers.
Drakakis, J & Liebler, N. (1998). Tragedy. London: Longman.
Duvall, E. (1996). Love and the facts of life. New York: Association Press.
Gordon, E. (1973). Introduction to tragedy. Rochele Park, NJ: Hayden Book Company, Inc.
Holman, C & Harmon. (1986). A handbook to literature. New York: Macmillan Publishing Company.
Kawabata, Y. Translated by Holman,M.(1962). The old capital. Berkeley: Counterpoint.
Milligan, I. (1983). The novel in English: An introduction. London: Sutton Publishing.
Murphy, M. (1972). Understanding unseen: An introduction to English poetry and the English novel for overseas students. London: George Allen & Unwin Ltd.
Rohrberger, M & Woods, S. (1971). Reading and writing about literature. New York: Random House, Inc.
Shils, E. (1981). Tradition. London: Faber & Faber.
Stanton, R. (1965). An introduction to fiction. New York: Holt, Rinehart & Winston, Inc.
Van De Laar, E & Schoonderwoerd, N. (1963). An approach to English literature. Hertogenbosch: L.G.C. Malmberg.
Vansina, J. (1965). Oral tradition. Middlesex: Penguin Books.
______. (1995). Oxford advanced learner’s dictionary. Oxford: Oxford University Press.
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Internet Sources:
Anonymous. (2000) History of Japanese obi. Retrieved on March 12, 2012, from http://www.gojapango.com/fashion/obi_history.html
Anonymous. (1936). Science: Japanese twins. Retrieved on February 15, 2012, from http://www.time.com/time/magazine/article/0,9171,770452,00.html#ixzz1 CCBfvn3C
Anonymous, _____. Retrieved on February 20, 2012, from http://gatheringbooks.wordpress.com/2011/01/31/the-old-capital-by- yasunari-kawabata/
Anonymous. _____. Retreived on January 20, 2012 at 7 PM, from http://commons.wikimedia.org/wiki/File:Yasunari_Kawabata_1912.jpg
Anonymous. _____. Retreived on January 20, 2012 at 7 PM, from www.readwritethink.org
Wollacott, Mark. (January 27, 2011). Kawabata Yasunari-author of snow country and nobel prize winner. Retreived on January 20, 2012 at 7 PM, from http://mark-wollacott.suite101.com/kawabata-yasunari-a339022 PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
APPENDICES PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 54
APPENDIX A
THE SUMMARY OF THE OLD CAPITAL
The novel tells about an adopted child of Takichiro and Shige, named
Chieko. Takichiro is a Kyoto kimono designer and Shige is Takichiro’s wife who helps him run the slowly declining business.
When Chieko in middle school, Shige tells the truth Chieko is not her own daughter. Shige says they steal a lovely baby under the cherry blossoms at night at
Gion Shrine and escape in a car. Chieko is not sure of her parents’ stories because they have slip up and tell her different stories about where they get her. In fact,
Chieko is abandoned by her biological parents in front of the lattice door of
Kyoto’s traditional kimono shop.
One day, Chieko tells about herself that she is an abandoned child, a foundling to Shin’ichi. Since childhood, Chieko and Shin’ichi had been friends.
Shin’ichi secretly loves 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
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her own in small village in Kitayama. From Naeko, she learns what happens to her biological parents. They look identical so that Hideo, a weaver, makes a mistake in predicting Naeko is Chieko. Hideo will weave an obi for her as a gift of her twenties. Both Shin’ichi and Hideo love Chieko.
One day, Chieko goes to Kitayama to meet Naeko. Chieko tells Naeko that
Hideo will weave an obi for her, Naeko. She has explained to Hideo that it is not
Chieko when he promises the obi at the festival. He mistakes someone else for her.
Hideo goes to Kitayama village. He meets Naeko to give her an obi and invites her to go to the Festival of Ages. Unpredictable, he wants her to marry him. Naeko asks Chieko to come to Kitayama village. She wants to tell what
Hideo says to her. Naeko thinks Hideo wants to marry her more because she is an illusion of Chieko than as a substitute for Chieko. Before Chieko goes home, she invites Naeko to come to her house.
Takichiro’s shop is having financial difficulties and Ryusuke, Shin’ichi’s brother helps him. Actually Ryusuke’s father will marry of his son with Chieko.
But after he knows the truth 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 live. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 56
APPENDIX B
THE BIOGRAPHY OF YASUNARI KAWABATA
Yasunari Kawabata was born in Osaka, Japan (June 14, 1899), into well- established doctor’s family. He was orphaned when he was four, after which he lived with his grandparents. He had an older sister who was taken in by an aunt, and whom he met only once thereafter, at the age of ten. Kawabata's grandmother died when he was seven, and his grandfather when he was fifteen.
Having lost all close relatives, he moved in with his mother's family.
However, in January 1916, he moved into a boarding house near the junior high school (comparable to a modern high school) to which he had formerly commuted by train. Through many of Kawabata’s works the sense of distance in his life is represented. He often gives the impression that his characters have built up a wall around them that moves them into isolation.
After graduating from junior high school in March 1917, just before his 18th birthday, he moved to Tokyo, hoping to pass the exams of Dai-ichi Koto-gakko
(First Upper School), which was under the direction of Tokyo Imperial
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University. He succeeded in the exam the same year and entered the Humanities
Faculty as an English major (July 1920).
Kawabata graduated in 1924, by which time he had already caught the attention of Kikuchi Kan and other noted writers and editors through his submissions to Kikuchi's literary magazine, the Bungei Shunju. He also worked as a reporter, most notably for the Mainichi Shimbun. Although he refused to participate in the militaristic fervor that accompanied World War II, he also demonstrated little interest in postwar political reforms. Along with the death of all his family while he was young, Kawabata suggested that the War was one of the greatest influences on his work, stating he would be able to write only elegies in postwar Japan. Still, many commentators detect little thematic change between
Kawabata's prewar and postwar writings.
In late 1960s there was much talk of a Japanese novelist winning the
Nobel Prize for Literature. The nation had never won the prize and was in the midst of a stunning national rebirth, economically. Many felt Mishima Yukio was the favorite to win the prize. However, the honor went to Kawabata instead.
Kawabata died in 1972. He apparently committed suicide, but a number of close associates, including his widow, consider his death to have been accidental.
One thesis, as advanced by Donald Richie, was that he mistakenly unplugged the gas tap while preparing a bath. Many theories have been advanced as to his reasons for killing himself, among them poor health, a possible illicit love affair, or the shock caused by the suicide of his friend Yukio Mishima in 1970. Unlike
Mishima, Kawabata left no note, and since (again unlike Mishima) he had not PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 58
discussed significantly in his writings the topic of taking his own life, his motives remain unclear. However, his Japanese biographer, Takeo Okuno, has related how he had nightmares about Mishima for two or three hundred nights in a row, and was incessantly haunted by the specter of Mishima. In a persistently depressed state of mind, he would tell friends during his last years that sometimes, when on a journey, he hoped his plane would crash.
Kawabata’s Books
Year Japanese Title English Title English Translation 伊豆の踊子 The Dancing Girl of 1926 1955, 1998 Izu no Odoriko Izu 浅草紅團 The Scarlet Gang of 1930 2005 Asakusa Kurenaidan Asakusa 1935-1937, 雪國 Snow Country 1956, 1996 1947 Yukiguni 名人 1951-1954 The Master of Go 1972 Meijin 千羽鶴 1949-1952 Thousand Cranes 1958 Senbazuru 山の音 The Sound of the 1949-1954 1970 Yama no Oto Mountain みづうみ（みずうみ） 1954 The Lake 1974 Mizuumi 眠れる美女 The House of the 1961 1969 Nemureru Bijo Sleeping Beauties 古都 1962 The Old Capital 1987, 2006 Koto 美しさと哀しみと 1964 Utsukushisa to Beauty and Sadness 1975 Kanashimi to 片腕 1964 One Arm 1969 Kataude 掌の小説 Palm of the Hand - 1988, 2006 Tenohira no Shōsetsu Stories PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 59
Kawabata’s Pictures
Graduation from elementary school Kawabata in 1917
Kawabata with his wife Hideko(秀子) to his left Kawabata at work at his house in and her younger sister Kimiko(君子) to his right Nagatani of Kamakura (1946) (1930)
Taken from
http://mark-wollacott.suite101.com/kawabata-yasunari-a339022 and
http://commons.wikimedia.org/wiki/File:Yasunari_Kawabata_1912.jpg
accessed on January 20, 2012 at 7 PM PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
APPENDIX C
LESSON PLAN
Subject : Paragraph Writing
Topic : Writing Narrative Paragraphs
Semester : 2
Time Allocation : 2 x 50 minutes
Material : Page 16 of Kawabata’s The Old Capital
Teaching Method : Lecturing, Discussion, Individual Work
A. Competence Standards
1. Students are able to know the typical features of narrative.
2. Students are able to write several narrative paragraphs.
B. Basic Competencies
1. Students are able to understand the use of narrative writing.
2. Students are able to write well using different genre.
C. Indicators
Students are able to:
1. Identify the typical features of narrative.
2. Recognize sentences used in the narrative writing.
3. Write a good narrative writing, consists of three paragraphs.
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D. Teaching Learning Activities
1. Pre-activities (10 minutes)
a. The teacher greets students.
b. The teacher introduces the topic of narrative writing.
2. Main activities (75 minutes)
a. The teacher distributes handouts and worksheet to the students.
b. The teacher asks the students to read the handouts related to narrative
writing.
c. The teacher discusses and helps the students to identify the language
features (when, where, who, linking words, action verbs, tenses).
d. The teacher helps the students in finding the moral lesson in narrative.
e. The teacher asks the students to write a narrative text.
f. The teacher asks the students to give comments and suggestions each
other by using the peer-review form given. .
3. Post-activities (15 minutes)
a. The teacher asks the students to revise their work using the reference
given by their friends at home and send it to teacher’s email.
b. The teacher asks the students about the difficulties related to the topic
of narrative writing.
E. Evaluation
The evaluation is based on students’ narrative writing. PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
APPENDIX D
LEARNING MATERIAL
FRAMEWORK OF A NARRATIVE
FACT about NARRATIVE
The essential purpose of narrative is to tell a story, but the detailed purpose may vary according to genre. For example, the purpose of a myth is often to explain a natural phenomenon and a legend is often intended to pass on culture tradition or beliefs. Narrative can also be written to teach or inform, to change attitudes / social opinions, to embody the writer’s reflection on experience, and to nourish extend the reader’s imagination.
There are many types of narrative. They can be imaginary, factual or a combination of both. They may include fairy stories, mysteries, sciences fiction, romances, horror stories, adventure stories, fables, myths and legend, historical narrative, ballads, slice of life, personal experience and of course, fantasy stories.
A Simple Narrative Consist of
Orientation gives the reader the setting of the story. It also helps them to
recognize the complication when it enters the story.
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Complication is where something adventurous, dangerous, or exciting
happens. It really makes the story worth telling. The reader asks, “How is
this going to work out?”
Resolution is where the complication is resolved or worked out. How was
the problem solved? What happened when they were threatened? Were
they rescued? Who won?
Language Features
Specific, often individual participants with defined identities. Major
participants are human, or sometimes animals with human characteristics.
Mainly action verbs (material processes), but also many verbs which refer
to what the human participants said, or felt, or thought (verbal and mental
processes).
Normally past tense, but can also in present tense.
Many linking words to do with time.
Dialog often included, the tense may change to the present or future.
Descriptive language chosen to enhance and develop the story by creating
images in the reader’s mind.
Can be written in the first person (I, we) or third person (he, she, and
they). PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 64
CLASS DISCUSSION
A. Underline the words showing the language features of the narrative text below!
SAMPLE TEXT OF NARRATIVE
Text
“I was in middle school, I think, when my mother called me to her and told me I was not her own daughter, not one who caused her the pain of childbirth. She said they stole a lovely baby and escaped in a car. But mother and father slip up and tell me different stories about where they got me. Language Sometimes they say it was in the evening beneath Features
the cherry blossoms at Gion. Other times it’s the When? riverbed of the Kamo. They think it would be too Where? painful for me to know I was abandoned in front Who? of the shop.” “And you don’t know who your real parents Linking are?” words “The mother and father I have now love me Action verbs
very much. I don’t have any desire to look for my Tenses real parents. Perhaps they are even among the graves of the unknown pilgrims in Adashino. Of course all the stones there are quite old.” The soft opening color of spring had spread, like a faint red mist, from Nishiyama across half the sky. (p.16) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 65
B. Discuss the moral lesson that you can learn after reading the sample text of narrative.
1. Do you think that Chieko’s biological parents abandon her because they do not love her?
2. Do we need to know about our origins? Why?
3. Do you think that life as an abandoned child is difficult? Why?
INDIVIDUAL ASSIGNMENT
1. Compose a good narrative text (includes the language features).
2. Pay attention to the topic sentence, supporting sentences, and cohesion!
3. The theme of your narrative text is The Traditions in my Country.
4. Writes in three paragraphs (at least). PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI 66
C. Give feedback to your friend’s work using the form below!
Writer’s name : ______
Reader’s name : ______
Focus
What parts of the writing help you know that it’s narrative? How can you tell that the writing is telling a story?
What details does the writer include?
Praise Question
What is good about the writing? Why is it good?
Question
As a reader, what do you not understand?
Polish
What specific suggestions for improvement can you make?
(Taken from www.readwritethink.org) PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI
APPENDIX E
THE PICTURE OF OBI
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