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43 pages 1 hour read

Osamu Dazai, Transl. Donald Keene

The Setting Sun

Fiction | Novel | Adult | Published in 1947

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Chapters 5-6Chapter Summaries & Analyses

Chapter 5 Summary: “The Lady”

After sending three letters to Uehara, Kazuko receives no reply. Feeling depressed, she asks her brother careful questions about Uehara. Naoji explains that Uehara encouraged him to start a publishing company and act as the agent for a group of young writers. Kazuko is convinced that Uehara has not been affected in any way by her letters. 

Feeling a sense of “disappointed love,” she decides to visit Uehara. Just as she is preparing to make the trip to Tokyo, her mother falls sick. She has a terrible cough and a high fever. When this does not pass, Kazuko fetches the village doctor. Though the doctor assures Kazuko that her mother will recover, her mother remains in bed. The doctor returns and diagnoses Kazuko’s mother with seepage in her left lung. This, he says, is “no cause for alarm” (103).

Kazuko is relieved, though she is hurt by the realization that Naoji is still the mainstay of her mother’s pleasure in life. After a week, Kazuko’s mother has still not recovered. Kazuko writes to Uncle Wada, who sends a doctor from Tokyo. 

Doctor Miyake is an old aristocratic man who once served as a court physician. His “rough manners and coarse speech” make Kazuko’s mother laugh as they gossip while he examines her (104). After, however, Miyake takes Kazuko aside to reveal his diagnosis: Her mother has tuberculosis and will likely die. There is nothing that can be done. Kazuko chooses to tell her mother that “it’s nothing serious” (107). She prepares her mother’s favorite foods, hoping to convince herself as much as her mother that everything is fine.

Kazuko has a dream in which she finds herself beside a lake in a forest, accompanied by a small boy. They walk to a hotel. When Kazuko mentions her mother, the boy says that she is “in her grave” (109). Kazuko feels immense loneliness as she is jolted out of her nightmare. Her mother calls to her and mentions that her fever has increased. Kazuko is “plunged into a blank despair” (110), though her mother is sure that she will soon be healthy. She cries while eating tinned salmon in the dark.

Kazuko borrows Naoji’s books. She reads Introduction to Economics by Rosa Luxemburg, as well as other revolutionary texts. Her mother prefers French novels, but Kazuko feels drawn to these works about social change. She feels caught “in the passion of love [she] must destroy” (112); she wants to start a revolution. This reminds her of her adolescence, when her friend compared her unflatteringly to “the girl in the Sarashina Diary” (113). Though the comment effectively ended their friendship, Kazuko is beginning to understand that she has not changed since that day, 12 years ago. She has “not even known love” (114), let alone revolution.

In October, Kazuko notices that her mother’s hand is swollen. She mentions this to Naoji, who is convinced that their mother’s death is imminent. Kazuko is determined to save their mother, but Naoji weeps and claims that “there’s nothing [they] can do” (117). Naoji visits Uncle Wada to provide an update; Kazuko stays at home and cries. 

Doctor Miyake returns and examines Kazuko’s mother. He leaves a nurse behind as he leaves, seemingly on the brink of tears. He believes that death will occur in a few days. Kazuko is “surprisingly self-possessed.” According to Uncle Wada, the family cannot afford a big funeral. Kazuko surprises Naoji by revealing that she will have somewhere to go: She plans to “become a revolutionary” (120).

Their conversation is interrupted by the nurse, who summons Kazuko to her mother’s bedside. Kazuko’s mother dreamed about a snake on the porch. She asks Kazuko to check the porch. Kazuko does so and finds the snake. She believes that this is the female snake whose eggs she tried to burn. Taking this as a bad omen, Kazuko moves the snake away, then returns to her mother to say that the porch is bare and that her mother’s dream could not be true. Kazuko begins to lose hope.

Kazuko knits to distract herself, hoping that her mother will guide her knitting, as she always did. They talk about a photograph of the emperor in the newspaper. During their conversation, Kazuko confesses to her mother that she has been “very ignorant of the world until now” (124). She is too embarrassed to say more, but she resolves to go on living and to continue to “struggle with the world” (124).

Over the coming days, Kazuko cares for her mother. Uncle Wada arrives with his wife. Kazuko and Naoji gather at their mother’s bedside with their aunt and uncle. When Doctor Miyake arrives, Kazuko’s mother asks him to “put an end to [her] suffering soon” (126). Kazuko prepares a meal for everyone. Her uncle hands her some money, leaving orders with Miyake on how to proceed in the remaining days. 

After they have left, Kazuko returns to her mother’s bedside. In a whispery voice, her mother says, “[I]t must have been a terrible rush for [Kazuko]” (127). These are her last words. She dies three hours later. Kazuko mourns her mother’s death as the death of “the last lady in Japan” (127).

Chapter 6 Summary: “Outbreak of Hostilities”

After the death of her mother, Kazuko feels “forever immersed in grief” (129). She does not want to continue in this way, so she is determined to fight, lifting her spirits by citing passages from the Bible while comparing spiritual love and physical love. She does not understand why spiritual love is considered good while physical love is condemned. 

Uncle Wada arranges for the cremation. Kazuko and Naoji stop speaking with one another, especially after he sells their mother’s jewelry to fund his new publishing venture. One evening, Naoji returns from Tokyo with a stranger. The woman is a dancer, he says, and the situation in the house is awkward. Kazuko decides that she will go to Tokyo to search for Mr. Uehara.

Kazuko visits the house of Mr. Uehara, but he is not at home. Instead, she meets his wife and small child. Uehara’s wife is kind enough to repair Kazuko’s broken sandal and tell her where to find her husband. Kazuko searches for Uehara, even more convinced that she loves him. She insists that she does not have “a trace of guilty conscience” (135). 

Eventually, Kazuko tracks Uehara to a restaurant where he is playing drinking games with a crowd of people. He seems older, more bloated, and sallower than she remembers. The drinking party shouts “guillotine, guillotine, shooshooshoo” and consumes large quantities of sake (137). Kazuko is invited to sit with the staff at the restaurant, where she must announce that she is Naoji’s sister before they say anything too disparaging about her brother. As they eat, Kazuko feels “extreme misery.”

The meal is interrupted by Uehara, who hands the madam in charge of the restaurant an envelope containing cash. He promises to pay the rest of his debt in the new year. Uehara turns to Kazuko and offers to find her a place to stay for the night. At his insistence, they go out into the street. She asks him about his writing, which he claims has stuttered to a halt. Everything he writes is “stupid and depressing” (145). 

He admits that he read her letters. Uehara, however, does not like aristocrats like Kazuko. He finds the entire aristocracy to be arrogant and detached from the everyday lives of normal people. The conversation is interrupted by Uehara kissing Kazuko, then they resume their journey. They arrive at a house that belongs to an artist named Fukui. He tells her to spend the night in a room in this house and he will return to her the next day.

Kazuko lays down in the room and falls asleep. She wakes up in the night and discovers that Uehara is next to her. She lies awake for an hour in silence before she breaks. She asks him whether the life he is leading is “the only relief [he] can get” (150), he responds by speaking to her about his misery and loneliness. To Kazuko, Uehara seems exhausted, as though he will soon die. She cannot help but love him, even if he feels hateful, even if he has lost his principles. Kazuko feels the “sad, sad accomplishment of love” (151). She spends the night with Uehara. The following day, she learns that her brother Naoji has died by suicide.

Chapters 5-6 Analysis

Kazuko and Naoji are very different people, yet the siblings are bound together by the circumstances of their birth and must confront The Decline of the Old Order. They were born into a class that has ceased to be during their lifetime, meaning that they have grown up in the shadow of their mother’s status. When she dies, Naoji mourns the death of “the last lady in Japan” (127), viewing her as an embodiment of an unassailable social status rather than a mother. 

Likewise, Kazuko was often struck by her mother’s grace and never attempted to mimic her behavior, believing that she was fundamentally incapable of replicating her mother’s aristocratic tendencies. To the siblings, their mother represented the entire aristocracy. By comparison, they consider themselves failures. Though they may be very different, Kazuko and Naoji are united in the way they self-consciously compare themselves to their mother and find themselves lacking. They may have enjoyed the privilege of their aristocratic status, but neither of them truly believes that they embodied the aristocracy as their mother did. As such, the aristocracy dies with their mother. When they grieve for her, they grieve also for the social status that dies with her, and they mourn their failure to perpetuate her way of living.

After her mother’s death, Kazuko escalates her attempt to regain agency over her life, reflecting The Persistence of Optimism. Previously, she wrote a series of letters to Mr. Uehara in which she sought to break free from the decaying cycle of her existence. These letters went unanswered, but Kazuko remains convinced that Uehara is her means of achieving control over her life. She takes a more active approach, traveling to Tokyo to confront the man she believes could be her lover in the future. This return to Tokyo in the wake of her mother’s death is symbolically significant: In attempting to assert her agency, Kazuko is reversing the journey that she began at the start of the novel. 

Whereas her trip from Tokyo to Izu symbolizes the decline of her status, the return journey symbolizes her attempt to regain what was lost. She is retreading her steps, attempting to figure out what went wrong. Uehara, in this regard, is less important as an individual than what he represents. He remained in Tokyo while she departed; by returning to him, she is returning to an idea of Tokyo that endured beyond the collapse of the aristocracy. She must return to her point of origin to learn more about herself.

In Tokyo, Kazuko finds an unsatisfying world. After so many months of idealizing Mr. Uehara as the solution to her problems, she finds him swept up in a wave of hollow debauchery. He and his drinking friends chant songs and drink sake, operating in their bubble of vice. After meeting Uehara’s wife and daughter, Kazuko is disappointed with the reality of Uehara himself. His family is left at home while he destroys himself with drink; Kazuko can envision herself even further on the periphery of his existence, which quickly dissuades her from the idea that she might reclaim control of her life by loving this man. 

Instead, the interaction with Uehara alters Kazuko’s understanding of the future. Whereas she sought an emotional anchor to slow her decline, she embraces physical intimacy as an alternative. She wakes up to find Uehara beside her, swept up in his own chaotic decline. She knows that he does not have the power to help her, as he does not even have the power to help himself. She makes the conscious decision to have sex with him anyway, accepting the consequences, whatever they may be. By choosing to have sex, she asserts her agency and begins a journey toward reclaiming her life in a new way.

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