five fathers, five sins, five wounds, five gifts [#3]
[Part 3 of my freeform analysis of canto 9 & Rien's character. Today we'll be taking a deeper look at each of the nursefathers and the symbolism of the wounds Ryoshu's Arayashiki left them with, with a particular focus on Shiomi - DM]
One of the things that stood out to me about canto 9 is the way in which it feels a bit like a folk tale, or a parable, in the way it approaches structure and symbolism. Ryoshu has five fathers, and she leaves each of those five fathers with a lasting wound when she leaves the House of Spiders.
As I spoke about previously, I read Rien's wound (the cut on his face), as connected in some way to his 'sin' - the way he attempts to efface his identity completely, to not have a 'self' at all:
In this way we can also read Rien's 'wound' as a gift - by cutting his face, Ryoshu frustrates Rien from being able to pass for just a poor copy of Roland, and invites him to individuate and claim an identity in this world. Indeed, I argue that Canto 9 more broadly is suggesting that the wounds that cause us the most pain often hold the key to our salvation - the single spider's thread that leads us out of hell.
In fact, if we look at each of the five wounds that Ryoshu leaves the nursefathers with, we can understand these wounds as symbols for how each father has been hurt, and how each, in turn, goes on to perpetuate that hurt in the world. Specifically, we can also map each of the nursefathers loosely to the four types of grasping (upadana) in Buddhism.
THATS RIGHT ITS BUDDHISM TIME AGAIN BABYYYYYYY
Here's how I map these types of grasping to each of the nursefathers.
Matthias - clings to sensuality & material things - (loses his arm)
Callisto - clings to his worldview - (loses his art-flesh)
Valencina - clings to her rigid discipline - (loses her eye)
Rien - clings to the not-self - (loses his face)
Shiomi - clings to the self - (loses her tongue)*
[also, like....five fingers of a hand....grasping?? IT KINDA FITS RIGHT I'M COOKING WITH THIS ONE]
Let's unbox each of the nursefathers one by one.
First, Matthias:
This one isn't too complicated. Matthias killed his Middle family for a cool anime sword. When someone gets in the way of Matthias getting what he wants, he intimidates them or uses force. He spoils Ryoshu and Kira and showers them with material things in lieu of providing appropriate parental love and guidance. When his hand gets cut off, he uses his ridiculous grit to cling to his cool anime sword even tighter.
Second, Callisto:
Callisto can only engage with Yoshihide through his OWN lens of artistic taste and formal analysis. He seems largely unable to relate to her outside of his specialist focus. Despite presumably understanding at some level what the House of Spiders is for, he hopes Ryoshu will found an art movement someday, without ever really considering if that's something she would be interested in, or find meaningful. He spends a decade fashioning a sword in his style to accompany her, and she destroys it along with his gallery, as if to invite him to look outside his current way of seeing the world and to try something new.
Third, Valencina:
Valencina is an abusive disciplinarian that will tolerate nothing less than perfect form, perfect stance, and perfect drill. Something particularly important about her characterisation is that the way things APPEAR is of vital importance to her. Lucio must LOOK the part - he must be 'Textbook'. Ryoshu as a small child is punished for the way it LOOKS for her to get cake on her face, eat immodestly, and smile. She doesn't demand Ryoshu not want to start trouble, she demands that Ryoshu not show a hint of it ON HER FACE. Valencina is obviously very emotionally labile, swingy, and triggered by things looking 'wrong', she controls others as a way of regulating herself, and she judges on appearances.
Ryoshu cuts her eyeball with Arayashiki. She invites her to not lean so heavily on the relic, and perhaps also draws her attention to her near-constant hypervigilance, scanning her environment for the next threat and if anything is out of place.
Fourth, Rien - we've covered in part 1 and part 2.
Lastly, Shiomi:
Shiomi is categorical on the supremacy of her own misery. She has, of course, suffered hugely - betrayed by the world, her organisation, her body, and the people she trusted. Her struggles are almost archetypal - as a woman she is cloistered, loses her independence, is forced into a caretaker role she does not care for, dragged out a world of comforts and freedoms - her own world - into the house of spiders. She wears a bride's outfit. The game is not subtle about this.
However - Shiomi is self-obsessed. She cannot ABIDE Ryoshu being sad, because it 'takes' from her misery, it waters it down, it implies her suffering is less-than-special. She must be THE victim.
Neither can Dihui Star abide Ryoshu for existing - as though by growing up and becoming her daughter, Ryoshu is 'eating' her individuality as a person and consuming her. This is why her 'first and only request' is that Ryoshu not become like her.
Shiomi has her tongue cut out. Now, I think Shiomi is a special case. When this scene happens, Ryoshu knows immediately that something has gone terribly wrong, which is different from the other times we see Ryoshu using Arayashiki against her fathers.
While Ryoshu suffers - Shiomi is triumphant, laughing.
I think Shiomi is laughing because she is getting what she wants - she gets to be the Victim of Ryoshu's violence, and has engineered a situation where she unambiguosly can cast Ryoshu as the Bad Person, the abusive ungrateful daughter that pinned her own mother down and cut out her tongue! After everything she sacrificed for her. In this moment, Shiomi has won.
I don't think Ryoshu can stand that. Not after all the abuse she's suffered. I think this is why she kills her.
...the real gift, I think, would have been to leave Shiomi unwounded, unharmed. Whereas four of the fathers have their wretched foreverwounds, keepsake of their daughter, Shiomi would be 'spared' that violence and that injustice - denied a special claim to misery, and left instead with a lasting symbol of her daughter's refusal to resent her. I imagine that would burn just as much as Rien's scar does.
Of course, that's not the way this story goes.
[if you made it this far, thank you for reading. It's a delight to finally get some of these thoughts down and I feel very lucky to have had such an appreciative audience. Next time, we'll be looking at the way the LCB gets split up in canto 9 part 3.]