In the play “Love Suicide at Amijima,” Chikamatsu creates a narrative of star-crossed lovers named Jihei and Koharu. The characters are shaped by a society that adamantly rejects their love due to the strict social hierarchy that separates them. Chikamatsu shows an 18th-century Japanese tragedy that serves as a commentary on the potentially devastating consequences of societal expectations. The structure created by the strict hierarchy that reigned over Japan in the 18th century played an important role in Jihei and Koharu’s deaths. The power dynamics that had control over Japan made it practically impossible during this period.
Jihei, a low-ranking samurai, is bound by the societal norms that he should marry within his social class, meaning someone with the equivalent status of a samurai. Koharu, a high-ranking courtesan, is put in a similar situation and is also constrained by social expectations that she should marry a wealthy person. Their love, therefore, is not only forbidden by societal norms but also complicated by their respective social positions, making it even more challenging for them to be together.
Due to these social expectations, their love is seen as impossible, and they are seen as a threat to the social order of society in Japan. The couple, Jihei and Koharu, face insurmountable odds, and they valiantly fight against social expectations to be together. Readers witness their struggle as a testament to the power of love and its ability to triumph over all things seen as problematic.
The consequences of these societal expectations are heart-wrenchingly tragic. Jihei and Koharu’s love comes to a devastating end as they are driven to take their own lives. Chikamatsu’s work vividly illustrates the destructive power and prioritization of societal expectations and how this pressure overrules personal desires, leaving individuals like these two characters to suffer life-ending consequences, ultimately destroying their hopes and dreams forever.
In 18th-century Japan, the social hierarchy was rigidly defined, with clear distinctions between different classes. This hierarchy was based on the concept of ‘shi-no-ko-sho,’ which was a system that divided society into four main classes: ‘samurai’ (warriors), ‘no’ (farmers), ‘ko’ (artisans), and ‘sho’ (merchants). Each class had its own set of rules and responsibilities, and this social order was strictly enforced. The samurai, for instance, were at the top of the hierarchy, making up about five to six percent of the population, and were expected to uphold a strict code of honor and conduct known as ‘Bushido’ (Cartwright).
The samurai were considered the highest class, with a strict code of honor and conduct known as “Bushido.” They were expected to be highly educated and skilled in martial arts. The next societal class included farmers, the largest sector of Japan’s population, at about 80 to 90 percent. Farmers were considered essential to the economy and the lifeline of the population, providing food and other necessities. They were expected to work hard and to be loyal to those above them (Cartwright).
The third class was artisans, who comprised another five to six percent of the population. Artisans were craftsmen who produced goods such as pottery and metalwork. They were not just highly skilled and innovative but also deeply committed to maintaining a high level of quality in their work, utilizing techniques passed down from generation to generation. At the bottom of the hierarchy were the merchants, who comprised roughly five to six percent of the population. Merchants, driven by profit rather than honor or loyalty, were relegated to the lowest rung of the social ladder. Below them, in a desolate social wasteland, were the outcasts-a group that included actors, prostitutes, and executioners. These individuals were not just outside the hierarchy but, beneath it, subjected to widespread discrimination and social ostracism (Cartwright).
This tight social hierarchy greatly impacted the lives of individuals in 18th-century Japan. People were born into their social class and moving up or down the social ladder was difficult. Individuals were often trapped in their given societal class and had limited social or personal advancement opportunities. People were almost always expected to change to fit their social class’s expectations, and then they were forced to maintain the traditional societal norms and customs. In the long term, this meant that people’s choices and opportunities were then limited by their social class, and then they were forced to choose between what they believe is right and their social obligations.
This concept, often seen in the literary world, strongly reminds us of the devastating consequences of societal expectations on individual lives. Some of the most well-known examples come from William Shakespeare’s plays. In “Romeo and Juliet” and “Othello,” Shakespeare uses two characters from entirely different social classes to show how their lives become affected by the societal expectations that Juliet was supposed to marry someone as high up on the social ladder as she was.
These works powerfully explore the destructive power of societal expectations and the tragic outcomes of a society that prioritizes social obligations over personal desires. Like Chikamatsu, Shakespeare uses the theme of social class to show how societal expectations can shape and limit individual choices and opportunities, often leading to unfortunate ends (Shakespeare, William).
In “Romeo and Juliet,” the central conflict is between the Montagues and the Capulets, and it is used as a backdrop for the tragic love story of the two protagonists, Romeo and Juliet. The societal expectations surrounding their families’ hatred for each other ultimately lead to the attempted death of the two lovers. Something similar is seen in “Othello,” Shakespeare uses the same theme of social class to explore the power of jealousy and the terrible consequences of a society that prioritizes social obligations over personal desires (Shakespeare, William).
These themes reflect the human condition, carrying significant weight and relevance regarding social class. In Shakespeare’s plays and Chikamatsu’s “The Love Suicide at Amijima,” the recurring theme of social class and its effects on individuals is seen as the prime factor in the tragic events that unfold. The societal expectations surrounding social class ultimately lead to the protagonists’ deaths. However, this also highlights the enduring power of love in the face of societal expectations and standards over personal wants and desires. While exploring the theme of social class in the context of these tragic love stories, both Shakespeare and Chikamatsu show the cost of societal expectations and the enduring power of love (Shakespeare, William).
Historian Herman Ooms once noted, “The social hierarchy during this period was incredibly rigid, with little room for social mobility.” This strict hierarchy significantly impacted how individuals lived, particularly relating to those who found themselves in love with someone from another social class (Ooms 47).
This social hierarchy is specifically relevant in the context of Jihei and Koharu’s story. As a samurai, Jihei was expected from birth to be honorable and follow his social class expectations. Koharu, as a courtesan, was taught to provide entertainment and companionship to wealthy patrons. Since Jihei and Koharu’s love crossed these social boundaries, they could not be together openly. Their love, forced into secrecy by societal norms, was seen as threatening the social order, and they were forced to keep it a secret. The weight of these societal expectations eventually became too much for them, and they became desperate, taking their own lives.
The play portrays the societal expectations that governed 18th-century Japan. One of the play’s most interesting and complex things to unravel and understand is the portrayal of societal expectations and love. Chikamatsu highlights how societal expectations can negatively impact personal desires and how love, in the case of Jihei and Koharu, can be a force that transcends social class. Their love, however, is impossible due to their different societal statuses and the social expectations of whom they belong. With this theme, there is more to unravel: their own personal identities and their relationship to social class. Jihei and Koharu’s love forces them to confront how they identify and the social expectations surrounding them.
As literary critic Donald Keene notes, “Chikamatsu’s play is a powerful critique of the social norms that took over Japan in this period.” The play highlights the destructive power of societal expectations and the consequences of a society that prioritizes social obligations over one’s desires (Four Major Plays of Chikamatsu).
Through its portrayal of Jihei and Koharu’s tragic love story, Chikamatsu’s Love Suicide at Amijima highlights the devastating consequences of a society that only prioritizes social obligations and ignores one’s desires. Nevertheless, it also serves as a powerful testament to the enduring power of love, offering a glimmer of hope in the face of societal expectations. The play highlights the destructive power of societal expectations and the devastating consequences of a society that prioritizes social obligations over personal desires. Chikamatsu’s “The Love Suicide at Amijima” is a powerful story that shows the consequences of societal expectations on individual lives and their choices about who they can love.
This tragic love story, created by Jihei and Kohar, shows the destructive power and potentially devastating endings that a society that prioritizes social obligations over personal desires can have. Chikamatsu reminds us of the long-lasting power that love can have and is an example of the social norms that governed life in 18th-century Japan.
Ultimately, “The Love Suicide at Amijima” is a powerful story of death that societal expectations and the ultimate power of love lead to. The play still resonates with audiences today, serving as a reminder of the importance of personal freedom and the face of societal expectations.
Work Cited
Cartwright, Mark. “Medieval Japan.” World History Encyclopedia, Https://Www.Worldhistory.Org#organization, 5 Oct. 2022, www.worldhistory.org/Medieval_Japan/#:~:text=Toyotomi%20Hideyoshi%20Hideyoshi%20then%20developed%20a%20rigid,(shi)%20farmer%20(no)%20artisan%20(ko)%2C%20merchant%20(sho).
“Four Major Plays of Chikamatsu.” Columbia University Press, 3 Oct. 2024, cup.columbia.edu/book/four-major-plays-of-chikamatsu/9780231111010.
Ooms, Herman. Tokugawa Ideology: Early Constructs, 1570–1680. Center for Japanese Studies, University of Michigan, 1998.
Shakespeare, William, et al. Romeo and Juliet. Yale University Press, 2004.
Sprockets and Springes 