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Johannes' growth is organic. We can watch his hate changing to self-pity, then to friendship, followed by his friendship sinking into desperation, and finally his desperation leads to his destruction. The climax leaves him at first numb, then he slowly understands his position. He makes his final irrevocable decision, a decision that is as logical as the blooming of a flower, a decision which is the result of a steady, persistent evolution.
Having observed how Hauptmann unrolled the mental progression of his protagonist, I will now proceed to analyze the technique of Katai in the development of his principal character Tokio.
In Futon all main events take place in Tokio's house in a Tokyo suburb. The first chapter opens with a flashback while Tokio is walking down a gentle slope.
That puts an end to the relationship between us. When I think of how I considered such a thing in spite of my thirty-six years of age and having had three children, I become disgusted. And yet....and yet....could this really be true? Could it be that all the affection she showed me was merely affection and not love?[1]
The edge on Tokio's words creates the tone and emotional rhythm of Futon. Tokio's thoughts dwell on his experiences with Yoshiko.
Young women's hearts are easily carried away. One minute they seem to be gay but the next minute they are depressed. They are easily excited by trifling things, and equally readily hurt by matters of no importance. Tokio was ceaselessly perplexed over Yoshiko's gentle attitude that neither seemed to be one of love, nor yet not of love. The power of morals and the restraints of customs can be more easily destroyed than torn cloth, given the opportunity. What does not come readily is the opportunity.[2]
