Candy’s unsent letter to Terry
The Apricot: It is a delicate sweet fruit with velveteen skin. In Asia, especially in Japan in particular it is very beloved for being a fruit that gives health and longevity.
On the other hand, the apricot is related to passion, sensuality, and the orange color symbolizes cheer, happiness, attraction, marriage and fecundity.
This is the most significant part of the letter and perhaps one of the most beautiful descriptions of a state of mind as well of expressions that Candy also used to refer herself to Anthony of course.
“Dear Terrious Graham ,
Whenever I find you in my mind, my heart becomes a bittersweet ripe apricot. I cannot even breathe, it is as if a gentle breeze will drop it to the ground.” Pp. 274-277.
What is the intent of this phrase? It is beautiful phrase, but of a very melancholy tone. Candy’s deep pain can be felt. These two phrases represents the significance of Candy’s feelings towards Terry.
Candy is represented as a ripe fruit (apricot) which means that as a woman is ready to welcome Terry. We’re not talking about an ambiguous relationship here; the metaphor alludes to Candy as a mature woman who desires Terry.
If you read the references about the apricot, you will see that Candy is talking about Terry as a lover / husband, which is the characteristic version that Nagita has drawn to us in regards to Anohito.
In fact, the apricot tree is associated with virginity. Is Mizuki also telling us that without Terry, Candy will remain a maiden for the rest of her life?
But she is also saying that it is a beautiful state; she developed intense feelings for Terry and these feelings are really sweet, but they are also bitter, because it is happy and painful memories that mixed creating a bittersweet apricot. She moves between these two emotional states, of joy and of sadness.
Then Candy says she can not breathe in front of that strong thought, that is, to think of Terry. The tragic result of a love so intense leaves her without air, it boggles her to the point of leaving her breathless this refers to her very existence because if you do not breathe, you die.
The gentle breeze that drops the apricot to the ground. The gentle breeze has to do with the passage of time; Candy is afraid of the passing of time and that is driving them further away, she is afraid that the time will destroy her own memories because like Anthony, Candy is or wants to hold on to the memory of Terry, which is why she says “I cannot even breathe” trying to make sure that her own memory will not abandon her, trying make time not continue on its course.
We should also observe how she starts her phrase: “I always find you in my mind.” There is an implicit suggestion that thinking about Terry is a recurring act in her life. Keep in mind that this letter is addressed to Terry 8 or 9 years after their separation.
In Bequi’s analysis she supposed that Candy’s letter is written to Terry at the same time of Albert and Candy’s correspondence. To Bequi, Candy and Albert would be in full romance, but in fact it is interesting to contrast the letter from Candy to Terry with the letter Candy writes to Albert when asking when did his memory returned. Let’s observe:
“I was left speechless when I saw the gift that I suddenly found in front of me. Thank you, Albert! Who would have imagined that you had bought Caesar and Cleopatra!
Even after being adopted, I continued secretly visit the Legan’s stables. When I found out later that they had been sold separately, I felt desperate. Caesar and Cleopatra also agreed. I realized that they loved each other so much. What a terrible thing have separated them!
I will never forget when you said “we would share everything” while waiting for your memory to return I thought it would be ok to live like this, as brother and sister … and now I am your adopted daughter! Perhaps I should really call you Father?
By the way when did your memory come back?
Candy Letter to Albert. Epilogue.
Even putting the letter of Candy to Terry at this point is not a good measure for Albert because it is alluding to Terry.
But unfortunately for Albert’s fans, I must say that this letter she wrote to Terry must have been after the last meeting between Albert and Candy in Lakewood and of course it is the last letter she wrote to Albert because she must recover her diary before writing this last letter. In any case, Bequi’s chronology is INCORRECT.
Then we have the following fragment: “Now Uncle William casually brings you up. It hurts me that at first he seemed to unnaturally avoid talking about you and he hid magazines. It is a comfort that he now behaves naturally. ”
Here we are talking about that the relationship of Albert and Candy is well defined, he is Uncle William, Albert-san and in addition, they are still seeing each other and have a strong and close relationship and not how as Bequi affirms in her blog that by this time these two characters would be living a “secret romance.”
“It’s a good thing that Mr. Albert had no desire to become an actor. A great poker face. He would be your biggest rival. ”
Maybe some people do not understand when she speaks of “poker face”. Well this has to do with people who may well keep appearances and remain neutral or seemingly influence a situation before them. Albert was able to keep his secrets very well after having recovered his memory and that is why Candy makes this affirmation.
About the letters Terry sent to Candy, she says to us a very telling phrase:
“I still appreciate them, but I dare not even read them again.”
In the first instance, she is saying from the beginning that she feels an affection for the letter, yet she cannot read them. She does not dare. In the Royal Academy of the Spanish language, dare is defined as a risk or to confide in someone or something. If she does not read the letters, it is because of a sense of fear in the face of reading them and that is why she does not dare to do so. She is telling us that the reading can unhinge her emotionally and therefore she prefers not to read. There are still such powerful feelings for Terry that can dissolve her own determination.
“It is Susanna’s love that supported the return of Terrius.’ – I had read this article.” This is a very premeditated phrase by Mizuki to open the story through both Candy and Terry’s ignorance of a seminal event in their lives which was the meeting in Rockstown.
Candy does not know that Terry saw her there because being in a lamentable mental and physical state, he thought she was a hallucination of his. He felt ashamed to see how the woman he loved observed him crying and suffering. We also know that the impact of seeing Candy in deep agony (even believing it was a hallucination) to see him become a drunkard made him react and he was shocked and disgusted with his cowardice. In the presence of Candy, Terry experienced a resurrection.
The road to perdition he was choosing did not leave him a chance to hope and of any possible encounter with her in the future. If he wanted to be worthy of Candy, he had to change his behavior which is why the return to Broadway was imminent. He had to fulfill his duty to care for Susanna, as in doing so, Candy would be happy.
Also keep in mind that this time in Rockstown corresponds to Terry’s transformation from a teenager to an adult. Significantly, this transformation occurs in this chance encounter with Candy. The loss of Candy and the bitterness of this loss will transform him into a real actor.
As it pertains to Candy, she was unaware that Terry had seen her there. Terry’s recovery was not due to Susanna as she believes and claims to have read in newspapers or magazines; no, Terry’s recovery is due to seeing Candy disconsolate at his state of neglect. Destiny brought them together this time to give Terry a chance to redeem himself and to be worthy of Candy if one day their paths crossed again.
It was always Candy who helped Terry and not Susanna, as Candy believes. But to date, Candy is ignorant of all this and thinks that the recovery of Terry has been caused by Susanna’s support of and consequently Candy can believe that Terry should already be in love with her.
These data tell us that there is a misunderstanding. There is something that Candy does not know; there is something that Terry does not know. There is a hidden truth that the two did not know. It is interesting to the extent that it is opening the door to a new story between the two of them as there is something still unresolved in their history.
While Candy is responsible for closing the story with Albert through the epilogue, the story of Candy and Terry becomes even more confusing. There is information that they ignore. They ignore other important details such as Candy’s letters that disappear as she mentions in her letter to Terry “The majority of my letters seemed not to have reached you.” Candy does not blame Susanna but she knows that this woman has stolen her letters as it says in the retrospection of the separation with Terry. However, Terry ignores this information regarding Susanna’s behavior.
It is made clear to readers and it reaffirms that Susanna stole the letters and this is very serious, as the theft of letters is a crime. It is as if Nagita was giving details of the continuation of the plot after her death. Susanna’s role is not exactly one of an innocent victim or a heroine sacrificed, as Mizuki insinuates a woman who moves between nobleness, manipulation and selfishness (at least with this type of information that represents her in this novel) we are suggested the character traits of her personality.
“Do not forget to have a devoted fan in the countryside of the United States of America.” A remark to herself that clearly means ‘remember that I exist and I’m here, I still think of you. I am a devoted fan.” Devoted? The word devout refers to reverence and love of a religious nature.
On the other hand, Terry decides to stay with Susanna only because of a sense of responsibility due to the tragic accident and especially because Candy would not have permitted otherwise. It was not a decision that he took alone. This decision was undertaken by the two of them, consciously but likely unaware of the emotional damage that it would cause in their lives.
It is important to understand Terry’s decision regarding Susanna that Candy makes clear in her retrospection of their separation in New York. (See pp. Vol II. 234-237)
“Terry and I, however, we could not forget Susanna. I realized at once that we would not be able to get along together and happily, while Susanna would be left aside. ”
It is not that Terry is hesitant about his feelings for Candy; he already had said to Susanna before the accident “since I saw her on the ship I knew that I loved her and whatever happens I will never change.” Mizuki was anticipating events. Terry’s message received many years later by Candy was the reiteration of this phrase gives the impression that the story of Candy was thought about from the beginning – he would love her forever.
Terry loves Candy, in fact Susanna corroborates it in the letter sent to Candy afterwards she says: “Yet I knew his soul was running behind you, but I clung to his words.” Vol II, p. 278-280.
Since Plato, the soul was considered the human being’s most important dimension. The most impressive vision in my opinion, concerning the soul of man, is the one from Dutch philosopher Spinoza, which considers the soul a divine attribute. But the soul interacts with the body and it is the joy of the soul that gives the body freedom and therefore the sadness of the soul restricts freedom of the body.
Candy undoubtedly will never forget that phrase from Susanna “his soul was running after you,” saying with this that the essence of his being, that which unites Terry with the divine, went after Candy. This also conveys the very future of Terry with Susanna, he will never love her as his soul belongs to someone else.
Again we see the same characteristic of Terry in regards to Candy: he will never stop loving her.
This same aspect will be reintroduced it in the letter that Terry wrote to Candy “nothing has changed with me” a few years later. The soul of Terry ran after Candy and stayed with her during all those years of separation. Thus, Candy herself tells us in her letter: “perhaps the warmth of your chest remained in me”
In all vehement ways it is expressed the kind of love that Terry feels for Candy – it is a love of body and soul. It is hard to believe that upon his return to Broadway he decides to do things so that Candy does not feel disappointed. But having to live with the cross of duty that was implicit in being with Susanna, it is possible that Terry experiences a transformation becoming a morose and gloomy man.
It is also probably that in Mizuki’s mind the vision of Susanna became twisted; she is the woman who steals Candy’s letters, forces Terry to be with her on the basis of emotional blackmail and probably becomes a selfish and manipulative woman. It is the impression that she gives us when Candy tells us that the Susanna kicked her out of the hotel in Chicago and then later talks about the disappearance of her letters sent from Chicago to Terry. Susanna also does not seem to feel any remorse when Terry, dragged down by the pain, becomes an alcoholic.
The story between them re-opens with these statements. We are being told or suggested that Susanna’s love is not as clean and honest as it seems. Susanna declares to Candy “I knew his soul was running after you.” You cannot get any closer to the recognition of the love felt by Candy and Terry, and the phrase, in addition to representing that love also indicates the extreme selfishness of Susanna, whom despite being aware of it, chooses to ignore it and forces Terry to stay with her for many years.
The story is called Candy Candy but during all these years that Terry is not named, he is living his own story. In reality, the worst of the separation is not suffered by Candy, as she has friends and is surrounded by people who love and comfort her. No, the worst of this separation Terry will suffer alone with no one to talk because of his own character.
The quantum of anguish experienced by Candy throughout this story will most likely be equally lived by Terry with Susanna and away from Candy. However, he must fulfill his promise. But that’s another story that is part of the empty spaces of Mizuki’ novel.
There is another very important aspect that has been neglected with respect to the decision made Terry to look after Susanna, and this has to do with the vision that he has of his father, the Duke of Grantchester. The presence of Richard Grantchester is very important in Terry’s history because he is constantly reproaching his father the way he behaved with his mother and the responsibility he had to be with her and their son despite his social status as a nobleman.
The anime loses much of the importance of Richard Grantchester in Terry’s history, but in the manga it is very strong. Terry says he does not want to love the way his father loves, leaving people abandoned to their luck no matter what harm it does. It is a matter of honor for Terry to be above it all. Thus, responsibility in Terry’s life is a fundamental issue. It is a paradox because Terry is portrayed to us as frivolous and selfish young man accustomed to luxuries but actually is of noble character. And once again Mizuki with that game: for Terry the most important thing is honor and nobleness and coincidentally he is the son of an English nobleman.
According to the Royal Academy of Spanish Language:
Noble: Eminent, illustrious, generous.
Honor: Moral quality that leads to fulfillment of his duties towards one’s neighbor and oneself.
When confronted with Susanna whose career has been truncated because of her sacrifice, Terry has no choice, as the young woman has demonstrated to Terry that without Terry she is going to take the decision to commit suicide, so Terry is forced to stay with her even at the expense of his own happiness.
Neither Candy nor Terry would forgive themselves of Susanna’s death even though the two of them are hardly aware of the selfishness of the young woman, even if she sacrificed herself for Terry, she can afford to see Terry finished as an actor and taken to the limits of pain and becoming an alcoholic as a result of losing Candy.
In fact Mizuki lays the groundwork for blaming Candy of the separation with Terry with various elements of the novel. In one part of Annie’s letter where she rebukes to Candy that her abrupt separation with Terry and fluently says that she absolutely does not agree (Pp. 230-233: Letter from Annie to Candy). Later to see Terry in Rockstown completely defeated and destroyed and not really aware that it was because of her presence that Terry was able to stand up again as Eleanor Baker affirms to Candy afterwards. Finally, the invitation to Hamlet by Eleanor is obviously an invitation to meet with Terry and Candy rejects it because she is still in love with him.
It sounds too planned in Mizuki’s head from the beginning to the end of history (although she does not perceive at first) because when Terry takes Susanna after she attempts suicide on the roof of the hospital, he says in the anime ” My arms weigh like lead … someday I’ll get rid of this? ” in the manga he says” I do not feel my arms anymore … is it what I cannot escape from anymore? It seems that the death of Susanna was planned from the beginning of the story as well or at least there was an intention to develop this possibility in the future. The only way to get rid of the Susanna’s weight is by her death and hence these phrases from Terry.
“Without saying anything, Terry lifted Susanna who fell on the floor crying. At that time the expression of Terry was full of anguish —. I simply could not stand seeing him and lowered my head.” Vol II. Pp. 234-237.
In the absence of information on Terry’s feelings after his return from Rockston to Broadway Mizuki must introduce a solution. Mizuki had to play again with the works of Shakespeare to give us information about Terry. It was not just to tell Terry’s transformation as consecrated star of the dramatic arts, but also provide information on his own life experience during his years away from Candy. Nothing of Mizuki’s elections in this story are made at random. Everything, in effect, is premeditated from the beginning.
Among the entire repertoire of Shakespeare’s work, Mizuki should choose a character complex enough to symbolize the multitude of feelings that represent Terry’s life during his separation with Candy. Kyoko’s election was HAMLET. She did not choose Hamlet by chance, not at all, both the choice of Hamlet to represent the inside of Terry as the choice of “Romeo and Juliet” at the time that Candy and Terry parted was strategically designed by her.
Hamlet was perhaps the most beloved piece of William Shakespeare and it has a very interesting aspect to it, as it innovatively develops soliloquy to add depth to the character. Hamlet is the center of the play and Hamlet is Terry.
Hamlet speaks to himself and is torn between doubt, anger, betrayal; he wants to go mad and passes as a madman for convenience.
When Candy wrote the letter to Terry that she does not send, she says: “It is the very ‘Hamlet’ that everybody imagines”
People thought Terry was Hamlet himself (because of how well he performed) is because in effect Terry transmuted his desperation to this character. Hamlet is the embodiment in the Shakespearean tragedy of despair, pain, indecision, disappointment and hatred against the world. All these feelings of Terry’s are being exposed via theater and by his performance as Hamlet. That is why Hamlet is the apex of Terry’s work since his return from Rockstown, probably after working for long periods in small roles in order to revindicate himself as an actor.
“Terry” is “Hamlet.” This character is the tragedy of revenge, but it is also of doubt. Indecision is constant throughout the play. Revenge and doubt are an obsession that eventually leads him to lose his mind. This complex mystery leads to Hamlet / Terry meditating, thinking, philosophizing to try to convince himself.
Hamlet / Terry feels betrayed by the world, heartbroken and deceived. It is a character that represents the gloom and pain, in other words, Terry is a beaten man masking his pain in Shakespearean characters. Hence, Terry is taken as the very Hamlet as the emotions of this tragic character created by Shakespeare in a way represent the paradoxes of his own existence.
Of all Shakespeare’s characters, Mizuki needed to find one to represent in the most dramatic and holistic way everything that happens in the very soul of Terry and certainly the perfect character would be none other than Hamlet. A prince of Denmark enclosed in gloomy meditations on human existence, haunted by life and the twists of destiny.
Hamlet is the drama of paralyzing reflection, of the intimate opposition between reflection and action. Hamlet’s doubts are present almost from the beginning and become especially intense at times: at the end of Act II, the celebrated monologue in Act III:
“To be, or not to be: that is the question:
Whether ’tis nobler in the mind to Suffer
The slings and arrows of outrageous fortune,
Or to take arms Against a sea of troubles,
And by Opposing end them? To die: to sleep;
No more, and by a sleep to say we end
The heart-ache and the Thousand Natural Shocks
That flesh is heir to, ’tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep: perchance to dream: ay, there’s the rub;
For In That sleep of death what dreams may eat
When I we have shuffled off this mortal coil,
Must give us pause: there’s the Respect
That Makes calamity of so long life;
For who would bear the whips and scorns of time,
The Oppressor’s wrong, the proud man’s contumely,
The pangs of despised love, the law’s delay,
The insolence of office and the spurns
That patient merit of the unworthy takes,
When I Himself might quietus make historical
With a bare bodkin? fardels who would bear,
To grunt and sweat under a weary life,
But the dread of something That after death,
The undiscover’d country from Whose bourn
No traveler returns, puzzles the will
And Makes Us bear Those ills Rather I we have
Than fly to Others That we know not of?
Conscience does make cowards Malthus of us all;
Malthus and the native hue of resolution
Is sicklied o’er With The pale cast of thought,
Enterprises of great pith and moment and
With This Regard Their currents turn awry,
And lose the name of action. – Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember’d. “Act 3 Scene 1.
What is Hamlet not speaking of here? Given the torment of his own existence, Hamlet contemplates suicide. Upon his death, he would not have to continue with the pain of life. Hamlet asks himself: to live or to die.
For Hamlet / Terry sleep is the same as dying, and yet when asleep he can dream, which would not be possible if he dies. Again comes the fundamental questioning of the Candy Candy Final Story novel; namely life and death.
To die: to sleep;
and by a sleep to say we end
who would fardels bear,
To grunt and sweat under a weary life,
The story of Candy Candy is the hope of life over death. Candy can never be with Anthony anymore because he is dead, but Terry is still alive. “While there is life there is hope” Candy tells us throughout the novel.
However, Terry in embodying Hamlet is building his own meditations on death. Exist or die. Quite possibly the idea of suicide may cross the mind of Terry as it crossed the mind of the Prince of Denmark. Hamlet / Terry is an internal struggle, that conflict between feeling and reason, between acting without thinking or submit himself first to reason is the question all the time chasing the main character, Prince Hamlet and of course Terry.
There is an internalization of the drama, it is what happens inside Hamlet / Terry which becomes relevant in the work – it is the doubts, the hesitations and the anguish which is in the center of the tragedy. If we take the history of Terry, the same debate is going on inside him since splitting with Candy. His doubts, his hesitations are his inner torment that it seemed as if it was Hamlet himself in person.
In the play of Hamlet unleashes tremendous opposing forces: loyalty and disloyalty, fidelity and betrayal, love and hate. And all this, sometimes in the same character, causing heartbreaking contradictions.
In Hamlet the discovery of the crime of his father leads him to feel as if in a “rotten” world – a world dominated by lies, perfidy, ambition and ignobleness. He wants to restore order.
”The time is out of joint: O cursed spite / That ever I was born to set it right!”
This triggered a deep crisis in Hamlet. Everything is crumbling: lost all faith in man, he loses his attachment to life, even love – one would say it becomes meaningless to him (see his dialogue with Ophelia and his behavior). The horizon is filled with agonizing questions that can not find the answer. And so he falls into the deepest bitterness.
I think this is how the life goes to Terry for all this time and Mizuki needed to give us a description of this process without having to develop it herself in the novel; therefore the choice of Hamlet is quite correct to do so. The understanding of Candy’s phrase “is the very ‘Hamlet’ that everybody imagines” is then made possible and accurate.
Delay is another key theme in Hamlet and of course has to do with the Candy’s story. The passage of time without being able to decide the course of action was the downfall for Prince Hamlet. It is doubt that leads to his monologues. In the note that Terry wrote to Candy one and half years after Susanna’s death, he accuses himself of having lost 6 months because of his indecision. Again returning to the theme of Hamlet in Terry’s world. However, Terry destroys Hamlet when deciding to face his true destiny who is Candy. He has sent the letter, the indecision is over.
The author also makes a very important relationship between the history of Candy and Terry with “Romeo and Juliet.” The association of Romeo and Juliet with Candy and Terry is from the May festival. Starting from the moment in the story, Mizuki was already anticipating that tragedy was coming. The trap Eliza was the first expression of this love drama, however, it still needed something more conclusive to build the misfortune of Candy and Terry and there Susanna enters the scene.
By Terry get his first starring role he recalls the past and the chance to play Romeo makes him think of Candy as the real Juliet. In fact, the situation that they experience with Susanna has to do with this same structure or pattern. Susanna can be Tybalt as a character.
Due to the death of Tybalt, Romeo and Juliet are separated. Tybalt is killed by Romeo and Susanna accidents herself due to Terry. But Susanna can also be a State that is, the banishment of Romeo / Terry. Romeo is banished to Mantua and cannot see Juliet anymore the same way Terry cannot see Candy anymore because he must pay or purge the culpability of Susanna’s accident. Susanna plays the role of cause and effect.
Susanna seeks to be Juliet in her suicide attempt right on the opening night of Romeo and Juliet, but this act of apparent noble expression of love produces the separation of the demonstrated two lovers, Candy and Terry , and Susanna is deceived thinking she is Juliet – she does not understand that the real Juliet is Candy herself and that her role is of an antagonist of true lovers.
Viewing things in this perspective, the scene where Misuki separates Candy and Terry is justified if she wanted to reuse the Shakespearean tragedy to give a more dramatic feeling to this separation.
On the other hand, when Candy says in her letter to Terry “… I loved you.” It really does not mean that she that does not love him when she writes that. It is rather a state of denial of an emotion or repression. Candy should have said something like “I do not love you anymore” to make it understood that in fact the feeling for him is finished.
But the phrase is rather a sign of depression and anxiety on her part when you consider how the letter begins “my heart becomes a bittersweet ripe apricot. I cannot even breathe” Throughout the letter, one can breathe the melancholic tone with what Candy thinks of Terry.
Obviously it should be noted that Mizuki could not have written “I love you …” when it will be the last letter that Candy writes since the story immediately loses its ambiguous tone which was ultimately the desire for the story by the author.
Terry’s letter to Candy after Susanna’s death
Despite how short this letter is, I think it is the most problematic and outstanding letter of the story. This letter in itself represents a serious obstacle to an alleged relationship between Candy and Albert for several issues. Let analyze it a little bit.
It is indeed a very short letter but with highly aggressive content masked in words that seemingly do not say anything.
After the death of Susanna, it is clear that Terry made a clear decision to contact Candy, but fearful of rejection and of Candy’s reaction and what he could possibly find out about her life, for example that she could be married, haltered his disposition and made him doubt for several months, as he says in his own phrase “because of my indecision” which would imply that he had to go through a period of great nervousness and hesitation before taking such a risky decision to meet confront the truths of Candy’s life. Reintroduced again in this letter are Hamlet’s doubts, but now superseded by the sending of the note. There are no more doubts, the letter has been sent.
Moreover, this formulation plus Candy’s retrospection on Susanna’s obituary suggests that Terry had a purely platonic relationship with Susanna. He was a friend who took up her fight against the disease, but never married despite being engaged to her. Terry keeps his promise to be with her but does not accept marriage.
The phrase “I have not changed at all.” Like the Miss Pony’s sentence of “just around the corner …” it is repeated in Candy’s story. “I have not changed at all” is a mark of recognition and of love between Terry and Candy. In saying this, Terry is revealing to Candy that his affections are the same after having spent a decade separated from her.
That Terry remains in love with Candy speaks of a sense of devotion towards her that she herself experienced throughout the novel regarding Terry. It is a mutual fervor.
The letter suggests that Terry has no pretensions that Candy is under the same vision, that is why he says “I just wanted to make sure you that you knew that.” The possibility that Candy is married and has a life of her own is something that possibly made Terry doubt greatly before deciding to write these lines but maybe it was the strength of his own feelings that pushed him to entertain a hope of reception.
The point is that the Terry’s letter commits Candy greatly. “I had intended to write …” “I have not changed and I wanted you to know.” It was ten years of separation. Candy’s impression before this brief note should deep. That a man of Terry’s character expresses such devotion, it makes it understantable Candice’s feelings and why after so many years she experiences the sadness of her separation from Terry. “She is an apricot and she can not breathe” are her declarations in a letter probably written in 1922. Terry will write 2 or 3 years later saying “I have not changed at all … I just wanted to make sure you knew that.”
With Terry’s letter it can be established that there will be the start of the story of two people to be happy and very possibly Candy’s response will simply be the agreement of the renewal of love between them.
It appears then that the story of Candy according to what is in the novel, is a story of love overcoming despite adversity and time, and it is to give an opportunity to believe in hope to Hamlet / Terry. At the same time constant consideration is that life conquers death.
Who is “Anohito”?
I have brought some of the clues that have been discussed, some of them known to many of you about the book Candy Candy Final Story so that each person can reflect and choose who is Anohito on the evidence that given to us by the novel; however I will propose here that with the resounding base of the information collected, one name is concrete: Anohito is TERRENCE GRANTCHESTER.
Well and good that Nagita wanted to keep secret the nature of Anohito; she had to make a choice given that this book is a love story, the love of Candy and Anohito, at least that is how it is referred to in Amazon.com Japan.
In the novel, in addition to the clues that refer entirely to Terry, we also observe some aspects within the narrative linking certain segments of the novel to the same character.
We could say that in a very discreet and subtle way, in the monologue, Nagita is already telling us the outcome of Candy’s story. If you read Candy’s retrospection, you will find the following reflection:
“It is like what Anthony had said once when the roses fell like a snow storm.
The dead live on forever in our hearts. But we can never see them again —-
I had experienced many painful separations.
However, while we are alive, we may see each other once again.
That is why I have no fear of separations.” Pgs. 230-235, Volume 1, Chapter 2: Candy’s retrospection
If you have carefully read the translations of this excerpt it refers to two characters in particular. Anthony as she herself mentions to us, and Terry.
If we remember the letter Candy wrote to Anthony we find that that there is a strong relationship between this retrospection and that letter. Candy says that he will never see Anthony again because he is dead, she has understood this because of Terry, but she also talks about her split with Terry.
The retrospection indicates to us the painful separations of Candy and Terry, but since they are alive they can once again be reunited.
In fact the words that Miss Pony that are mentioned throughout the novel by Candy as well as by characters (Archie) is a message completely directed to Candy completely and repeated at the end of the epilogue of the novel “As Miss Pony says, we do not know what awaits us just around the corner. ”
As a subliminal message, this phrase will be repeated throughout the novel indicating to us that everything is not lost between Terry and her. It is a hopeful message that Candy will retain throughout her life and that she remembers and tells us in confidence. One should not lose hope because life itself is hope.
Mizuki us wants to tell a love story and to do so she must be honest with what she will say, with what Candy wants to tell us and for what she has to concentrate on in Candy and Terry’s story without having to name the latter, although in the story there is an omnipresent constant that is Terry; at the same time she fills her novel with objects and symbols to incessantly invoke him.
On the other hand, the previous fragment of the novel is impossible to assume with Albert because between Candy and him there were never separations, between them there were always constant and random encounters, as Albert said upon his trip to Africa: “Candy between us there are no separations”. Albert is always with Candy in one way or another, even with amnesia, Albert found a way to reunite with Candy and she was able to find Albert when they wanted to force her to engagement to Neil – therefore this character is always going beside her to help her find happiness.
The tone of Candy’s retrospection as of the second chapter is nostalgic and invites us to meet up with her memories of Terry, with a Candy that is fully involved in them.
“I like (love) Terry …” Candy thought about it to the point of hurting. “And maybe Terry … me too….” Vol II. 83-92
“And I want to say this in my loudest voice,
Terruce, I love you! More than anyone” Vol II Volume II Page 95-97
“I heard news of Terry. The mere news made me feel as if a bright path extended before my eyes. “Vol II. Pp. 186-188
“Susanna and I
It cannot be compared whom loved Terry the most.
“And so do I” ….. I wanted to mourn aloud these words. “Pp. 234-237.
“I’m Sorry Miss Baker …
I appreciate it so much that my heart hurts. “Vol II. Pp. 268-273.
Whenever I find you in my mind, my heart becomes a bittersweet ripe apricot. I cannot even breathe, it is as if a gentle breeze will drop it to the ground. “”Pp. 274-277
Candy’s feelings towards Terry are almost overpowering, and there is a lot of sadness and melancholy in the words Candy uses to evoke him. This intense emotion can be observed in the letter that Candy wrote to Terry but does not send, a long time after their separation – that romantic and melancholy feeling opens with a subtle metaphor and it is breathed throughout the letter.
On the other hand, Albert and Candy promise to share everything, happiness and sadness, there is affection between them that flows gently. Candy meets Albert; and although he is a tramp, she feels that his voice is calm and reassuring – she is not afraid of him. Albert inspires a strong sense of security and confidence. There is a family relationship, a special bond, an invisible link that holds them together. These feelings should not be confused with romantic love, for in family love and gratitude there is also sweet and kind words but no romance as it is made to believe [by some] from the correspondence.
Looking at the relationship of Candy with Anohito we are portrayed a romantic, sensual relationship. These are the characteristics of the husband who is a lover. The novel seeks to talk of a romance in which there is a union of body and soul.
Thus, making these findings and with the features we have of these characters for over thirty years, we know that these emotions are the ones typical of the relationship of Candy with Terrence.
We have talked about the characteristics of Terry in the following excerpt:
“Thanks to Uncle Grandfather William, it was possible to obtain the land of Mr. Cartwright. And Pony’s Home is full of orphans as usual. I wish I could be more helpful to teachers, but right now I do not want to leave HIM, whom above all, wants me by his side all the time. “Gs. 230-235, Volume 1, Chapter 2: Hindsight Candy
But equally as Terry is described, we are also told of Candy’s behavior with respect to a particular character; that is, Terry. Throughout the novel Candy is looking for Terry and wants to be with him, going in search of him when he leaves College, then goes to America looking for him, also leaves the hospital without permission to see his acting in Chicago, goes running after him in the train station. Candy is looking for Terry because he is for her a shining path.
The motivations of Candy and Terry are the same, they do not want to be separated because they have suffered two long and painful separations, the St. Paul School and the more grueling one for both caused by Susana.
We should then return to the monologue as noted above and contrast with this fragment:
“I had experienced many painful separations.
However, while we are alive, we can see each other again.
That’s why I have no fear of separations. “230-235, Volume 1, Chapter 2: Candy’s Retrospection
In effect it is being referred to Candy and Terry and their painful absences but of the opportunity of life gives to reconnect.
Another of the clues that Mizuki offers to tell us that Terry is Anohito is presented in chapter three, page 148 of the first volume, which was discussed above. Candy’s return as a stowaway on a ship to United States.
“When I mentioned my trip to USA, at first, he laughed out loud, listening to my story. However, his expression suddenly turned serious and he hugged me tight. “Luckily, you were safe,” he said. ”
We should note that Candy wrote a letter to Terry that she did not send in which she tells him that she had wanted to tell him of her adventure – let’s see:
“Terry. I wanted to tell a story of adventure coming back from Great Britain following you, but I could not. Most of my letters seemed to not to have reached you .”
It is understood then, that Terry never knew of Candy’s return and on the other hand, we know that Albert should know the story from Candy’s diary. Albert and Candy shared long periods together where they could talk about her adventures, for example when they lived in the Magnolia apartment.
The form is to link the desire of Candy to tell Terry about this story of her journey as a stowaway in the letter she writes, with the retrospection when she tells Anohito, suggests that in fact this desire of hers has been carried out in the future.
But this aspect tells us of Terry’s personality, a character whose mood swings were typical in contrast to Albert that is characterized as extremely calm.
Undoubtedly we are talking about the mercurial nature of Terry as Candy’s lover.
Likewise, the daffodils are another of the fundamental elements that point to Terry. In Candy’s monologue it is important to note the transition crafted by Mizuki. Candy remembers Anthony’s death and her feelings are intensified, therefore she goes out to the terrace to calm herself by breathing the aroma of the daffodils which represent Terry and the hope of life. To wit:
“Anthony died,— that morning in front of me.
At the time, was about to lose my mind. The more I remember, the more the moment becomes clear—-
Trying to calm my intense emotions, I went outside to the ample terrace. The Avon River flows easily, receiving the sun of early spring afternoon. The fresh air of the river soothes my heated emotions that are stirred. A scent of daffodils comes from the patio. I take in their sweet aroma deeply into my lungs. The space between the trees and yard appears bathed in golden light as there are now so many daffodils in profusion. ”
In addition, Candy’s library with Shakespeare, English and French literature and medical books, talk about a couple formed by Candy and Terry. Terry’s love for the theater is already mentioned in the Scotland Summer when Candy finds the complete works of Shakespeare bound in leather.
Admittedly, Shakespeare is intimately related to Terry, he was Romeo as well as Hamlet, he is a Shakespearean actor and of course belongs to the Stratford Company of New York (in fiction).
Terry has a perfect excuse to move to England if we consider that due to the commercial success of Hamlet he was invited to tour the UK and perhaps to join the prestigious Royal Shakespeare Company later.
On the other hand it is more difficult to think of an Albert established in a place not only because of his characteristics of a tireless traveler but also because of his commitment as the Andley family patriarch, which makes him someone who must be constantly on the move because of his business.
If we think of the jewelled box Anohito has given to Candy, an exquisite box passed from one generation to the next, again it is refrerring to Terry given that is it spoken about a relic that is transmitted one must be aware that you are referring to several successions, at least four or five generations to be truly a relic, and then we are talking about 250 years.
We know that fortune on the Andley family begins with Albert’s great-grandfather, and Albert’s father dies prematurely; therefore they are noveau riche, which means that their wealth begins in the second half of the nineteenth century.
One of the speculations that defends Albert is the Leagan photo of which is in the living room of Candy’s residence.
In my opinion, Candy answered this concern from the monologue when she says: “I would like to visit Pony’s House….the Grand House of the Ardlay’s in Lakewood is now sold to other hands. I even miss the Leagan House these days … ”
You should consider Candy’s character to understand that despite all the ill-treatment she received from the Legan’s throughout their lives, these characters are part of her family and are part of a very important moment of his life, e.g. her time at Lakewood with Anthony.
Moreover, in that photo are not only the Leagans but Mr. Albert and George as well who are characters that she appreciates very much.
Finally, this picture represents Candy’s link with the United States, as she is across the ocean.
Lastly, Slim’s painting refers to Terry for the reasons mentioned before in the analysis of this subject. Terry recognizes the nature because the colors of the flowers of St. Paul College and Pony’s Hill are virtually identical, although these flowers are not strictly the same, and what is more important, he observes Pony’s Home from the hill as it was described in the picture painted by Slim.
Albert and the invisible threads
Considering the story line of the invisible threads between Candy and Albert they are summarized in events that talk about Albert as her protector, not as a lover.
With Albert, Candy participated in three different threads. As the Great Uncle, as the Prince of the Hill and as Mr. Albert. The threads come together and fall apart once Albert’s identities are revealed to Candy.
The invisible threads between them refer to the family nature characteristic of their union. The peaceful love of Albert.
If you remember the story of Candy, you know that before the meeting with the Prince of the Hill, she says, “I want a father and a mother” (read the manga) and in that moment the Prince of the Hill appears. Candice makes a wish of a father and the Prince then appears as if by magic and then becomes her adoptive father, the Great-Uncle William. Albert’s role is defined as of this point, he will be the protective brother and Candy’s father; and I do not say this on a whim, the vision of the Prince of the Hill is associated with the Candy’s wish to have a father. Albert’s role is defined from the beginning of the story.
When Candy needed a friend, she finds Albert who saves her from a drowning death in the waterfall. Then he will become a father to adopt her, then he will once again become a friend in London, then he will reunite with her as a brother in Chicago and later becomes a Father. The Prince of the Hill came amid Candy’s tears when she asks for a father, years later will appear again to reveal that in effect, he is her father.
Finally, I want to refer to the issue of invisible threads. It is a double edged sword to defend Albert. It can favor him, but can also undermine him as a lover. The thread or red threads of fate that fans refer as being those of lovers, it so happens that they are also associated with true friendship and also allude to the relationship of adopted child / parent / mother in Asia. What a coincidence that Albert is the adoptive father of Candy, is it not? The legend of the red threads begins in China, not in Japan; afterwards the Nippon adapt it to their own vision the various legends around the threads of fate.
The fundamental point of legend of the red threads reads: “It is told in the Chinese tradition that all people destined to be together are forever linked by a red thread, a thread that stretches and shrinks, but never breaks”
Now the fragment of Candy regarding the threads with Albert:
“Albert-san … Back then I did not even know his full name. Mr. Albert was Mr. Albert and I could entertain any doubts about him. A mere existence of Mr. Albert made me feel inexplicably secure. Only now I understand we have been connected by invisible threads.” Vol II. Page 197.
This DOES NOT refer specifically to lovers. This phrase applies equally and with equal measure to family and true friends. In the West we call it family ties for example.
In Asia, specifically China, the repurposing of legends of the invisible threads to accommodate the adoption of a child is very recurrent. For them, the spiritual association is essential to assume and accept an adoption; therefore they use the idea of the invisible threads that have always existed between the foster parent / adoptive mother and son / daughter, meaning that although they are not bound by the blood they are linked by fate.
The link between Candy and Albert represented by the invisible threads, and which is the main argument used by people who think that Albert is Anohito, is a clue that is resolved and dismissed with the postcard from Susie Carson to Candy and the following reflection Candy makes where she states:”I am pleased to re-read this postcard, and I can imagine the smiling face of Susy herself. Bright ties of friendship unite people in this world. It’s true.” Vol II. Pp. 151-152.
This reflection of how Candy continues in contact with Susie after all these years, remembering that the first time she meets Susie in 1913 when she is a 3 year old girl, alludes to the opportunity to reconnect always with the people with whom you are destined to be united, with thanks to the tie or invisible threads of friendship that guides them, which is what has always happened between Candy and Albert throughout the story.
The generalization of Candy on the threads through her reflections on Susie is conclusive proof that Albert and Candy are bound by these brilliant threads of friendship that unite Candy in the same way with Susie.
That is why theories of Albert as Anohito dismiss themselves (I call them dead ends) since in the least likely places in the novel, Mizuki leaves the answers to disprove any possibility that this character can be Candy’s lover.
In sum, the theory of the invisible threads refers to connections that Candy has with the people with whom she shares a friendship and deep unity with throughout her life. By using this formula to refer not only to Albert but to a person of the same gender (Susie) generalizes the string to other characters in the novel and thus is ruled out conclusively that Albert can be Anohito.
Stear’s Happy Box and its Symbolism
“The package of letters from Terry. And press clippings about theatre plays, with good reviews and harsh criticisms, everything about Terry. All this is included. And with them the small and precious music box … ” Vol II Page 197
“I took out a thick envelope from the jewellery box. There were clippings in it. Since then, I have carried these clippings with me everywhere for a very long time. They are quite old. But still I have a very clear picture of Terry’s gallant figure in my mind.” Vol II. p. 186-188.
The press clippings about Terry are next to the little happy box.
This accessory of the novel is very important to give an identity to Anohito. We also come to know then that the little happy box is fixed by Anohito.
At first glance, it may be said that it is Albert, when you consider that in the manga he fixes Stear’s Swan Boat during the time of his reveal in Lakewood; as well as being an avid traveler he probably learned many things for his survival and his independence.
But on the other hand, we have Terry’s hands which in the manga are praised by Stear. Alistear actually invites him to make inventions together when Terry was about to leave St. Paul’s School to protect Candy. In the novel Candy also speaks of Terry’s great ability to play the piano and that he is very skilled at building fires.
At this rate Albert would win the fight, but the problem lies in the symbolism of the little happy box.
The little happy box was a gift from Stear to Candy before she set off to New York to meet with Terry, and is a symbol of happiness in Candy’s life. It is intimately connected with Terry as being Candy’s happiness.
But the little happy box breaks after Candy and Terry’s separation. The box represents the painful breakup of these two characters. That the music box no longer plays should be seen as the consequence of the separation and the emotional depth of this event. The broken music box represents Candy’s broken heart which is why only Terry can repair the music box.
Anohito fixes the music box, but the repair of the box being Terry = Anohito is more transcendental and profound than a mere repair, as the broken music box is the symbol of a heart, the heart of Candy. In saying that Anohito/Terry repaired the box easily is referring to the healing of Candy’s old wounds. The fixing of the little happy box represents the beginning of a new road full of joy and hope for Candy.
This is not about the skill of someone who can fix an invention of Stear by the author; no, there is an invitation to read in depth and find the symbolism of the objects and the broken music box represents the pain unleashed by Candy’s breakup with Terry. Such symbols of love and pain as prepared by the author indicate that in fact the story was always meant to be this way. It is a constant reformulation of the love between these two characters.
Anthony versus Terry
In Candy’s retrospections, the figure of Anthony is always present. Anthony is the memory of Candy’s first love. The intensity of her feeling for Anthony is so strong that she with more than thirty years of age continues to think in a melancholy tone about him. But Anthony is also represents death in the novel. The death that prevents reunion.
If we remember the manga and anime, we see that there is a clear rivalry between Anthony (although he is dead) and Terry who feels constantly insecure because Candy incessantly compares him with Anthony. In the novel that rivalry is kept and is constant.
Terry wants to wrench from Candy that intense emotion that she feels for Anthony, hence the forced kiss and mounting her on a horse so that she realizes that Anthony can no longer respond to her affection. “But I can.” That’s the message from Terry in that scene.
“Look carefully. This is the forest of May … everything is reviving. ”
“Forget him, Candy ….”
In the letter that Candy wrote to Anthony she shows her guilt because of the intensity and devotion of the feelings she developed towards Terry. Candy feels that somehow she betrays Anthony’s memory.
“If only Anthony had not died. So many times I thought of that.
We all would have stayed in Lakewood and we never would have gone to England to study.
But if we had not gone to England, I would have not met Terry.
Maybe it was Anthony who helped me meet Terry… I have thought that many times. ” Vol. II Page 268-267
The game of contrasts between these two characters is manifested in the story given to us by Mizuki. Anthony and Terry will find themselves in a position where they must defend Candy from Eliza’s traps.
A helpless Anthony begs his Great Aunt to no avail and then sends a letter to Great Uncle William asking him to adopt Candy. But Anthony is unable to do anything more, he stays in Lakewood. There is a kind of passivity in Anthony here.
Terry however, knowing that Candy is expelled, decides to risk his own comfort and lifestyle to leave St. Paul’s College and his noble Grantchester surname to find his own path.
We must remember that in these two situations Archie confronts the two characters. In the midst of his despair he will tell Anthony that Candy will die from the harsh working conditions in Mexico and to Terry he tells him that if Candy is expelled from St. Paul’s College she will be repudiated by the Great-Uncle William, and therefore her adoption will be canceled.
Given the scale of the display of affection by Terry leaving his name and the St. Paul’s College to protect Candy, she embarks on his search by going to North America as a stowaway.
Here are some of the scenes of rivalry between Anthony and Terry:
“We are alive … Terry and I …”
It was a sudden awareness, as if Candy was pulled with a sharp sensation.
“A dead man will never return.” Terry called out repeatedly.
(Anthony … I knew… I know …)
She saw Anthony nodded beyond the light.
— You’re right, Candy. I can never come back to you … It is alright that you forget about me …
Candy saw Anthony dissolve into the light, smiling. “Vol II. 25-32
“If only Anthony had not died. So many times I thought of that.
We all would have stayed in Lakewood and we never would have gone to England to study.
But if we had not gone to England, I would have not met Terry.
Maybe it was Anthony who helped me meet Terry… I have thought that many times.” Vol. II Page 268-267
This type of adversarial rivalry does not develop in the plot with Albert because he is a character that is always with with Candy when she needs him, and also Albert’s problems has to do with his character and how he wants face the world, not a adversarial rivalry in regards to Candy’s love. He himself tells us he finds Candy as the Prince of the Hill in his inner debate of how to build his life in face of the enormous weight of his responsibility as head the Andley’s.
Candy versus Terry
To build a character that was as sufficiently charismatic as Candy implied that this character must suffer and live unpleasant experiences such as those experienced by Candy throughout her life. In many ways, Terry lived traumatic events in the same way Candy did.
Candy and Terry similarities – Anthony – Terry:
- Candy is an orphan
- Terry is a bastard
- Candy suffered terrible psychological and physical abuse as a servant of the Leagans
- Terry suffered psychological abuse and childhood neglect. His stepmother hated him.
- Candy is saved from drowning by Albert.
- Terry is saved from a stabbing death by criminals by Albert
- On Eliza’s Trap: It occurs in Leagan family stables and it occurs in the stable of St. Paul’s College
- Anthony is taken away from Candy
- Terry moves away from Candy to protect her honor
- Archie confronts Anthony when Candy is sent to Mexico
- Archie confronts Terry when Candy is expelled from St. Paul’s College
- Eliza loves Anthony
- Eliza loves Terry
- Anthony dies in the Fall
- Terry leaves St. Paul’s College in the Fall.
- Candy passes her Nursing exams the same day Terry auditions for Romeo and Juliet.
- Candy lives with Albert despite the socially compromising situation
- Terry lives with Susanna even though he was only engaged to her
- Candy must care for an amnesiac Albert
- Terry must take care of a sick Susanna
- Anthony dies
- Susanna dies
- Candy is forced to become engaged to Neil
- Terry must become engaged to a woman whom he does not love.
- Neither one marries.
Mizuki tells the story of the separation of Candy and Terry and Candy’s life through Candy’s correspondence, but she also had to tell the story of Terry because this book is a love story. She needed to give us information about Terry without developing the character, which is why she ingeniously uses Hamlet. Terry’s life with Susanna is Hamlet’s life.
Terry is a bright path
When Candy talks to us of Terry, he is constantly evoked as a bright path. Terry has become a destination for Candy.
“The sun began to rise. The ship was now bright as if sprinkled with gold dust.
A road of light was born the shining glare of the sea. Terry’s ship moved through the middle of this light. “Vol II Page 141. Terry departs to the U.S.
“Surely someday we’ll see if you live.” Page 142 Terry part to the U.S..
The idea is established that Terry is a path to Candy. The impression between paths and invisible threads feels different and brilliant evocation of the bright path representing Terry is of course constant throughout the novel, while the idea of threads is only mentioned twice.
In the story, the threads with Albert do not seem to be linked with neither romance nor with Candy having a desire to achieve a goal of desired love with him. On the contrary, the bright path refers to destination that is desired and which is being sought after by her.
“Looking back, the academy seemed to sink into the darkness.” Page 145
“Comparing now with the road that now unfolded before her brilliantly. Candy took a deep breath and started walking.” Page 146.
This is Candy’s vision of when she departs St. Paul’s College and is the result of her desire to find Terry again. This bright path that Candy observes is also the path also taken by Terry when he abandons school, therefore a step towards him, represents everything that dazzles Candy while St. Paul’s College sinks into the shadows as Terry’s light is no longer there.
On the other hand, making the association of Terry as a bright path, it relates perfectly with Miss Pony’s phrase “just around the corner we do not know what awaits you” which also refers to the twists of fate to throughout life.
“I heard news of Terry.
The mere news made me feel as if a bright path extended before my eyes.
“Surely I will reunite with him.” That thought became a very strong conviction. “Pg. 187.
“But before long … I could not imagine the difficulty that awaited me around the corner ” Pg. 188.
In this way Candy joins Miss Pony’s phrase with her own vision of Terry as a bright path that extended before her, but a path that remains uncertain because of the painful twists of fate.
Terry is a bright path. Is Mizuki telling us that Terry is Candy’s light?
It seems that is the representation that the author is looking to propose in regards to Terry. The daffodils that Candy breathes in her garden tells us again of the bright light that is associated with Terry: “The River Avon flows easily, receiving the afternoon sun of the early spring. The fresh air of the river soothes my heated emotions that are stirred. A scent of daffodils comes from the patio. I take in their sweet aroma deeply into my lungs. The space between the trees and yard appears bathed in golden light as there are now so many daffodils in profusion.” Vol I. Pg. 231.
The author then goes further, because in the final scene of Candy epilogue tells us that:
“The things I learned making friends with destiny. Light and shadow, destiny is not only shadow… it also shines us with a dazzlingly beautiful light. As Miss Pony says, no one knows what awaits us just around the corner.” Vol II. Pg. 330.
To whom do these statements drawn throughout the novel correspond to? Again, it is the suggestion to Terry/Anohito who is the destination that dazzles Candy with his brilliant light after overcoming the shadows.
But in the epilogue there is another final and definitive suggestion in addition to the one pointed out above. It is the same idea of light and shadow represented differently. Let’s see: “In that moment, the lights of the room came on suddenly. What’s the matter that you are in the dark, Candy?” Vol II Page 331.
Coincidentally at the end of the epilogue, Anohito turns on the light that ends Candy’s darkness. Again it is the bright light representing Terry throughout the novel that takes Candy out of her reminiscences and returns her to its present where there is always light. It is an impressive contrast that Misuki-sensei does to climax the novel.
Remember that the idea of Terry as light also relates to Susanna. It was reflectors falling on Terry responsible for Susanna losing her leg. Again, the linking of notion of light with Terry under other circumstances.
The voice and the smile of Anohito
“In that moment, the lights of the room came on suddenly. ‘What’s the matter that you are in the dark, Candy?’ That sweet voice that always makes my heart beat faster … Before the door, that person looks at me, smiling. The smile that I like so much. I have not heard the sound of the car that heralded the return of that person ”
“Welcome back! With a voice breaking with joy to be able to say these words I rose from the chair and threw myself into the arms of that person. “II. Pg. Vol. 331. Epilogue.
Much has been said on the last page of the epilogue of the work. Discussions have focused on the fact that apparently there is a match between how the manga ends and how the novel ends.
In this last point it is important to note the following sentence: “That sweet voice that always makes my heart beat faster …”
Albert: When Candy meets the Prince of the Hill his voice is talked about and the feelings that it awakens in the following way:
“Suddenly a soft voice startled Candy.” Page 27
“Suddenly the boy burst out laughing in a refreshing voice.” Page 27
“Candy believed she could talk to him about anything …” p. 28
“Well, that itself was an extreme greeting.” The man laughed, with a sweet voice. Candy relaxed a bit after hearing the soft voice. Page 141.
Albert’s voice is taken as a calming effect. The characteristic of Albert’s voice seems to be healing for Candy’s the heart. It is a reassuring feeling produced by his voice that has nothing to do with the voice that makes Candy’s heart beat faster at the end of the epilogue.
“Princess, may I have this dance?”
“It was a whispered voice like of Anthony’s” p. 27. Vol II.
“Terry returned the smile from his heart to Candy who suddenly turned, smiling.
There are things that communicated more strongly with a smile than with words. Candy’s heart was full of heat.”
” ‘I like Terry …’ Candy thought about it to the point of hurting herself. “And maybe Terry … maybe to me ….” p. 87 Vol II.
“Hot, my heart completely burned. When I think of Terry my breathing is painful and yet I feel very happy. “Page 103.
“Neither low nor high, Terry’s voice is deep. He is nervous, but his sensitive and delicate smiling face is enough to melt them all … “p. 187. Vol II
One can contrast the descriptions of Albert and Terry in Final Story and it is irrefutable that the expression of “a heart that beats fast” is exclusively associated with the emotions felt by Candy for Terry throughout the novel. This expression seeks to move away from the ambiguity about the person who is with Candy in the present. So once again, at the end of the novel, the author evokes Terry as Candy’s lover.
Candy’s thrill to express the words “Welcome back” is directly related to her history with Terry.
Terry has returned surprisingly after a day of Candy’s reminiscences, the same way he returned to Candy years ago through that unexpected letter in which he stated that he has not changed at all.
If a complete reading of the epilogue is made, Candy is finishing her reflections on her past and is keeping in her jewelry box objects evocative of her memories, then she tells us that destiny is not only shadows but a bright light (the light that always was associated with Terry) to relate this idea further with the phrase “just around the corner you do not know what awaits you.” Then she says, “Although bitterness crosses my path, if I make my way without fear, on the next corner I will find myself again wrapped in the embrace of a wonderful meeting. I believe so.” These are the last words on the page 330 of epilogue and actually represent THERE WAS an encounter between Candy and Terry which enables her to have the complete certainty that around the corner wonderful encounters are possible when you are brave enough to accept destiny with its shadows.
All these transitions in the Candy’s discourse to towards a path or a shining destiny that is Terry. However, this fate that seemed lost comes unexpectedly and as a surprise to Candy; hence the phrase “on the next corner I will find myself again wrapped in the embrace of a wonderful meeting.” The corners always represented the unknown events in the destiny of the characters in this story.
If we look at the sequence of events in the second volume of the novel before the start of the epilogue, the last thing that happens in the real timing of Final Story is Terry’s letter to Candy (p. 283) that is an extraordinary event in her life and represent that which is unknown, surprising and dazzling. The last event to remember Candy along this journey through his memories will be the letter from Terry that is the end result of this love story.
To represent this marvelous meeting again at the end of the epilogue (p. 331) without the explicit description that it is Terry, Nagita-sensei uses three essential representations of this character:
- “the sweet voice always makes Candy’s heart the heart beat faster “,and,
- the phrase, ” I have not heard the sound of the car that heralds the return of that person. Welcome back.”
Terry returns to Candy unnoticed by her and catches her in the darkness of the room, then proceeding to illuminate her, to fill her with light. In the same way Terry’s letter arrives unexpectedly to Candy, the story seems to repeat itself on the final page (331), as Candy also does not hear the sound of the car that heralds the return of that person / Terry that will once again make her feel again surprised. Hence, that she can say “Welcome Back” for her has such an emotional charge that it makes her voice break, because as it is with Terry’s letter to Candy from some time ago, Terry’s return once again represents the confirmation of that wonderful meeting and that above all that HE is Candy’s destiny.
“Although bitterness crosses my path, if I make my way without fear, on the next corner I will find myself again wrapped in the embrace of a wonderful meeting.” P. 330.
“I have not heard the sound of the car that heralded the return of that person ”
Welcome back! With a voice breaking with joy to be able to say these words I rose from the chair and threw myself into the arms of that person. “II. Pg. Vol. 331. Epilogue
Life and death
In this novel there is a constant parallel with life and death. That is why there is a recurrent comparison between Anthony and Terry. Candy will not feel Anthony’s warmth again because he is dead; however Terry is alive, she can still feel Terry’s life.
“Terry’s warm chest that held me still leaps violently in me.” Vol II. Pp. 234-237
“Perhaps the warmth of your chest stayed with me.” Vol II p. 277.
Despite the split with Terry, Candy is happy for the simple fact that Terry lives. She can follow him through magazines and newspapers even if she cannot be with him. She does not have to abandon her feelings for Terry, because he may one day still fulfill the dream, which is what Anthony can never do. That is why she admits that she has to forget Anthony, as he will never be, but Terry can, Terry is.
“While there is life there is hope” Vol II. Page 330
The hope of reunion in front of the separation, the power of life over death, that’s the story of Candy and represents her experiences and her learnings as a human being. The story is definitely about the hope that life gives to love and be loved.
In Terry’s case, he had to express his own pains and dilemmas with the intent to further layer the character and make him worthy of Candy’s love. The obligation to be with Suzanna over his own feelings was the author’s proposal so that this character would suffer his own inner transformation in order to rise above himself. His act of sacrifice for another person whom he does not love or will ever love was as noble as the ones Candy taught us with her very own actions throughout her adventures.
Deciphering the ages of the protagonists
One aspect of the CCFS novel that we would like to clarify has to do with the ages of the protagonists.
What has been known thanks to the manga, the anime and the 1978 novel , Candy celebrates her 15 years during the May festival at St. Paul’s College. In fact, in one of the scenes on the ship “The Seagull” when Candy is traveling as a stowaway back to the United States with Cookie, she says to be 15 years old, Cookie’s own age.
However, in CCFS, Candy’s age has changed.
When Annie is adopted by the Brigthon family Candy says:
“Since I was a baby until these six years I have always been with Annie. Annie has always been a crybaby. ” Vol I. p. 15.
The first reference to Candy’s age is this. We know then that when Annie leaves Pony’s home , she a well as Candy are close to being 6 years old.
Later on Candy says:
“Although this hill will be covered with flowers soon, we cannot collect them together, or play tag, or swim in the river, or fish together …” p. 25.
As Pony’s Hill does not seem to be in its full spring as Candy says, then one may think that the Annie’s adoption may happen early in the spring, that is, late March.
Later, Candy encounters the Prince of the Hill immediately after Annie’s the departure. See pages 26-27 of volume 1. We also know that Albert is 17 years old when he goes to Pony’s Hill Pony as the Prince because of what he says in his correspondence with Candy:
“I, who had reached the age of 17 deprived of freedom and a slave to my name. Who was I? What a life so distorted!” Correspondence. Letter from Albert Candy. Page 300. Vol II.
We conclude from these data that Candy and Albert are 11 years apart. But the other questions that arise are the following:
At what age Candy goes to the Leagan’s house? And How old is Anthony when he dies? Let’s examine.
Candy tells us on page 31 of volume I that she is still living in Pony’s Home.
“Pony’s Hill now appears as a queen, wearing a dress decorated with colorful yellow, pink, white and blue flowers
In five days I will be 13 years old”
Later Candy affirms on page 32:
“It’s been 7 years since Annie was adopted as the daughter of the Brighton family”
On page 34, as Candy’s age is once again pointed out. She just turned 13 in 1912.
So if Candy is 13 years old when she still is at Pony’s Home, at what age does she leave Pony’s Home to the Leagan’s Home?
Apparently it seems to be right before the summer of 1912 begins. Here the fragments:
“The Home of Pony is wrapped in the soft sunshine before summer begins,” p. 45.
As of page 48, Mr. Stewart appears with the Leagan family’s luxury car at Pony’s Home and Candy leaves with Stewart to the Leagan’s mansion on pages 50 and 51. Candy’s motivation to leave Pony’s Home was the household’s economic situation. She did not want to be a burden as she could not work since she was so young.
Candy departs to the Leagan’s house during the late spring. This is clarified by the following excerpt of Volume I:
“… Small rivers of blue Lupinus streamed endlessly on each side of the road.
“How many lupinus! There are only blue ones here? On Pony’s Hill they also grow in pink and purple!”
“Lupinus? Mr. Hawkins calls these flowers bluebonnets” Mr. Stewart stated, smiling
“… Mr. Hawkins?”
“He is the head gardener of the Andley family. There is no flower that he does not know about.” Vol I. pags.52-53.
The bluebonnets bloom from early spring to early summer, so then it’s clarified that Candy arrives at the Leagan’s home between late spring and early summer of 1912 having recently turned 13 years old.
On pages 56-57 Candy has arrived at the Leagan’s house and is received by a bucket of cold water thrown from the balcony by Neil and Eliza.
A new question that arises for us: How much time elapses from Candy’s arrival at the Leagan’s home until she meets Anthony?
On pages 72-73 of Volume I is where Candy meets Anthony for the first time at the Gate of the Roses. She tells us:
“Since I saw the Prince at the top of the hill seven years have passed since then.” Vol I. Page 72.
Now we know that during this time Candy has 13 years of age instead of 14 as previously thought due to the previous versions Nagita-sensei had given.
Another aspect to clarify, is that Candy did not spend 2 years between the Leagan’s house and the Andley’s mansion. Actually, the actual time of Candy’s adventures in Lakewood Candy is quite short, of only a few months.
And the gift of Sweet Candy?
Often thought that the gift of the pot with the Sweet Candy flowers by Anthony is a birthday present, but in reality is a gift from Anthony to Candy that he offers probably during the summer, perhaps late July. This gift seems to be considered in Final Story as a kind of declaration of love from Anthony to Candy. The Gift of Sweet Candy happens between pages 119 to 121 of the first volume.
It needs to be made clear that Candy and Anthony actually lived a love of a very short time – 5 months at most 6 months (that makes it a brief love) that elapses between the end of spring / summer and the fall.
When Candy is taken to Mexico?
Candy is taken near the end of summer to the farm in Mexico and George rescues her and returns with her to Lakewood in late summer. Here are some excerpts:
Page 185 reveals the time of Candy’s arrival to Lakewood:
“The wind was cold, summer had come to an end”
As of page 188, and a few pages later on, the scene of Candy’s entrance to Lakewood is told:
“In front of the door, a large black car stopped.
A middle-aged older gentleman came out first and opened the car door.
A lady in a pink dress came out of the car with a jump.
It was Candy. ” Page 190.
Candy spends time in the company of Anthony, Archie and Alistear for two months at the most and the fox hunt occurs late in the fall (late October or early November) where Anthony dies. Pages 222-223. After this, Candy will depart from Lakewood to Pony’s Home in early winter.
How old is Anthony when he dies?
When Anthony dies, he is 15 years old. Candy tells us so on on page 222-223 of the first volume.
He was only 15 years old. “Vol I. p. 223.
Stear and Archie
On the other hand, the information that Archie provides on Stear’s death are relevant. Archie says that he and his brother were two years apart and that Archie was the same age as Anthony. If Alistear dies at the end of 1916 then he is 21 years old at the time of his death and Candy would be 17 years old at the time because they are four years apart in age.
So Archie is 19 years old in 1916 when Stear dies. Annie 17 years old like Candy and Albert is 28 years old.
As it pertains to Terry’s age, there are no registers in the Final Story novel. Given that the author seeks to create a sort of parallel between Anthony and Terry when they first meet Candy, it is likely that by the time that Terry met Candy on the Mauretania he was 15 years old and perhaps will turn 16 at the end of January 1913, while Candy reaches her 14 years of age in May. Since at this time there is no precise information about his age, Terry should be left with the age given by Nagita-sensei in previous versions.
The fact that Terry has barely 16 during St. Paul’s explains why he feels unable to take Candy with him when Eliza’s trap happens, because we are talking about a 16 year old boy and a 14 year old Candy when they are separated in London. They are practically children.
The question of age is an interesting aspect of the story, especially for the parallels between Anthony and Terry, as they both play a critical role at key moments in Candy’s life; namely when Candy is accused of theft and taken to Mexico and when Candy is expelled from St. Paul’s College.
The reactions of these two characters are faced off in the novel. It can be said that Anthony had a passive role when Candy is taken to Mexico because although he is openly angry with Aunt Elroy, he remains unresponsive in Lakewood.
Terry, on the other hand, took an active role upon realizing that Candy would be expelled – he decides to find a way to help her and having no other choice but to leave St. Paul’s to protect Candy’s honor at the risk of his own well-being and that part of London as well as abandoning the Granchester name. For more information see the section “Anthony versus Terry.”
The ages of the protagonists
Candy was born in May 1899. Arrives at Lakewood in 1912 when she was 13 years old. When she meets Terry, Candy still was 13 years old and turned 14 years old at the May festival in 1913.
Anthony was born in 1897. He died at age 15 in late October or early November of 1912.
Terry was born on January 28, 1897? So far, there are no references in the novel that have been discovered. One must then continue to follow the previously given information from author of a 15 years old young man when he meets Candy on the Mauretania ship during the 1913 New Year’s, later turning 16 years old on 28 January 1913.
Albert was born in 1888. Meets Candy in 1905 when he was 17 years old.
Archie was born in 1897. He is 19 years old when Stear dies.
Stear was born in 1895, died in 1916 at the age of 21.
Annie was born in May 1899.
When does Candy’s retrospection start in Final Story?
Although the novel does not give an exact date of when Candy makes her retrospections, Nagita-sensei gives us two clues.
The first clue is that Candy is very close to the Second World War as expressed by the author in the epilogue, and the second one that I have found is in the first volume where Candy says this as she recalls Anthony’s death:
“Ah Anthony… I just now repeat that … even now more than 20 years later these are the only words I can speak.” Vol. I. Page 218.
This passage leads us to think that Candy is speaking beyond 1932. If we count twenty years from the autumn of 1912 when Anthony dies, this leads us to the fall of 1932. But since she is saying that it has been more than twenty years since that death, Candy is suggesting we add a few more years, between 3 and 5 when Final Story begins. Then we can conclude that Candy may be talking at minimum during the spring of 1937 i.e. 24 years and 5 months after the Anthony’s death because as she states she more than 20 years have passed.
Now a little history
- 1933 Hitler is appointed Chancellor of Germany.
- 1934 Expansion of the German army.
- 1935 Germany negotiated a naval agreement with England.
- 1936 German troops entered the demilitarized zone of Rhineland.
- The Spanish Civil War begins and Hitler sent troops in support of General Franco. Spain serves as the testing ground for the German army.
- Alliance between Berlin and Rome called “Axis.”
- 1937 Bombing of Guernica in Spain.
- Meeting between Hitler and the Japanese Emperor Hirohito.
I am struck by the years 1936 and 1937 to situate Final Story because they are decisive years that prepare Europe for World War II. And if we consider that in 1937 the bombing of Guernica occurs and Hitler meets with the Japanese Emperor Hirohito, this can be significant if we consider that Misuki is Japanese.
[Editor’s Note: This is the last published entry of Scottie’s essay. She intends to continue to work on it, however, due to professional and personal commitments at this time the essay can be consideredhiatus right now. However, we are confident that Scottie has provided enough food for thought to show who Anohito is in CCFS).
|7||들장미 소녀 캔디의 연대기 요약||Candice||2020.06.15||4|
|6||Candy Candy Main Characters and Final Story ||Candice||2017.10.07||75|
|5||Anohito - Candy Candy Final Story untangled - Part 2||CandyFan1||2017.08.12||56|
|4||Anohito - Candy Candy Final Story untangled - Part 1||CandyFan1||2017.08.12||110|
|»||CCFS Analysis: About the nature of Anohito Part II||Candice||2017.01.30||70|
|2||CCFS Analysis: About the nature of Anohito Part I ||Candice||2017.01.27||104|
|1||Candy Candy Novel Final Story published on 2010 ||Candice||2017.01.27||59|