Lost in Translation & That actor, Influential II
Now that the chance had arisen to talk about Sebastianese, or ‘keigo’, I wish to make another post on what may have been lost in translation, while using this opportunity to make a sequence for ‘that actor, influential’.
1. Inconsistency in Body and Words
‘Keigo’ is formal language, but it is not restricted to just the spoken words. In Japanese, not only is it imperative that the speaker chooses their words carefully, but also that the body language is appropriately formal. This includes properly timed bowing, nodding, and other such gestures.
In chapter 138 wherein we see newborn “Sebastian Michaelis” in his full glory for the first time, he already speaks in impeccable ‘keigo’. While his command of the vocabulary part of ‘keigo’ is flawless, his body-language leaves a lot to be desired.
I don’t know whether this is universal, but in the very least in Japanese society, crossing one’s legs is considered rather impolite, and unacceptable even in formal settings. It goes without saying then that butlers should never display themselves with legs crossed.
The first time we see any Sebastian with legs crossed was in ‘Tango on the Campania’ on January 31st, 2017. Few months later Yana admitted that she was beaten by the punch with Yunbastian’s mighty arrogant way of sitting down, first seen in the manga on March 18th, 2018.
2. Drawing Attention by Comparison
Additionally, I wish to point out that chapter 138 did not display so much of Sebas’ legs just because they are drop-dead-gorgeous.
The panels serve as visual, comparative narratives wherein we see a well-educated though still somewhat demure kid, versus an uneducated and mighty arrogant demon. Herein, O!Ciel’s straight back and legs represent his educated background, while Sebastian’s casual posture represents the raw demon he is still; one who is yet to be educated by his master.
Not only did Yunbastian predict Sebas’ unpolished mannerisms, he might also have inspired Yana on the demon’s tone.
Ningen no yokubou ni wa saigen ga arimasen kara neé~
There is no limit to the greed of humans, [now, is there? lol]
Amari ii sentaku to wa omoemasen ga neé~
I cannot think of it as a very good choice, [now, wouldn’t you agree? lol]
In ‘keigo’, it is best to leave out linguistic fillers or similar redundant trails and sounds (e.g. “erm…” or “right?”). At the very beginning of the contract, on top of committing the body-language taboo, Sebas also made the mistake of trailing his words; a mistake he never makes again later in the contract!
By trailing the neutral ‘ne’ into ‘neé~’, in practice it makes the speaker sound sarcastic. An English equivalent would be like an emphasised polite word: “Oh, so sorry, madam!”
When tone of voice and body-language are inconsistent with the hyper-formality of ‘keigo’, it is considered even ruder than someone who just speaks in casual language. This inconsistency would be considered an attitude where the speaker knows they should be respecting the listener, but does not feel like the person deserves the respect. Instead, all there will be left of the politeness in the words is an attempt to show-off just how highly educated the speaker is. (The potential irony of ‘keigo’ is discussed in this post as well.)
This same type of ironic impudence is likewise first to be seen in Yunbastian, where he says “as you wish” with an unacceptable tone and speed, while smacking the plate down before his master.
Obviously, facial expression is part of body-language as well. We see in the same chapter how Sebas uses hyper formality in language, while the rest of his face is screaming: “I am so much better than you, peasant.”
Anata ni kigai wo kuwaeta ningen wo nokorazu massatsushite mairimasu
I shall [humbly] proceed to obliterate the ones who have harmed you.
Yoku okizuki ni narimashita ne
You did well in [nobly] taking [noble] notice.
O!Ciel I don’t know how you trained your demon pet, but dayum, I take off my hat for you.
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