Reading Snow Country

There are so many works in the literature library, some expose the real society, some eulogize the beautiful times, and some express personal feelings. Kawabata Yasunari's Snow Country is undoubtedly biased towards the third kind.

Kawabata Yasunari's exquisite brushwork is not only reflected in the detailed description of a scene and a thing in the place of Snow Country, but also in the depiction of characters' appearance, clothes and inner world. The scenery and people's inner world set each other off and become interesting, which will always make readers form a picture in their minds. The wind seems to blow on their faces, and the surrounding is white, bringing coldness, and it is also conveyed to the readers' hearts through words.

The whole book doesn't have too many storylines and complicated emotional entanglements. The main interaction between the characters is Shimamura and Koko, a geisha. When they met, they met twice later. They got along very lightly and spoke naturally. Compared with Paradise Lost, which is also about extramarital affairs, it doesn't have a lot of naked sex scenes like Junichi Watanabe's, and it doesn't have the deep and passionate love of the male host Kumi for the female host Rinzi. The whole atmosphere is permeated with a melancholy sadness. Actually, I had a similar experience when I read Murasaki shikibu's Tale of Genji.

For the hostess foal, I always have deep love and sympathy when reading books. Born in poverty, she was first sold to Tokyo and returned to Xueguoshan Village five years later. She was forced to become a geisha in order to treat her master's son. She looks like a signboard and can play sanxian. She likes reading diaries. In this way, she is out of place in a remote village. She should live her own life, but she can't. All efforts are in vain in Shimamura's view.

She met Shimamura and fell in love with this man. She waits for Shimamura every year. She knew that her love was hopeless. You see, she always says something insincere, such as go home, you'd better leave early. Every time she said I should go, she stayed. She's fighting her heart. This kind of struggle, mixed with the realistic problem of survival, drove her crazy, which was confirmed by Ye Zi's mouth. He said to Shimamura, "Sister Ju said I was going crazy" and said, "Please treat Sister Ju well."

Every time she attends a banquet, she will sneak out to see Shimamura. She said she didn't want to go, but she had no choice. After getting drunk at the party, she ran to Shimamura and loudly said that she was not feeling well. It really hurts to look at it.

"How heartless!" This is what Komako said to Shimamura the most. It seems to be teasing or abusing, but she tells her true feelings. Shimamura likes and loves her, but has no intention to protect and save her. In the final analysis, such feelings can't enter his world. After all, they are just dew love.

Confused people, perhaps confused people, will continue their lives. People who often have ideas in their hearts, people who live clearly and clearly, live a life of extreme pain and despair.

Shimamura's leaving without saying goodbye has always been her fear. Shimamura is really ready to leave quietly. When the car passed the hot spring hotel, Shimamura didn't even look back at the pony. Every humble person with unequal status and love will have this kind of fear and fear.

There are too many such examples in life. A man enjoys another woman's sex without giving her a future or commitment. This irresponsibility has nothing to do with love. Taking the name of love as the cover of physical behavior will never have a good result.

If the leaves represent the existence of a certain spiritual level of Komako, and the leaves say that it is Komako's expectation to let Shimamura take her away, then the fire at the end, the leaves falling into the sea of fire, and Komako screaming wildly, should it be regarded as a desperate cry after the hope is shattered?

Or the leaves are the foal's past. In order to prevent the leaf from becoming the present foal, she had to end her life to avoid all the pain. Otherwise, all the struggles are in vain. Is this another industry that she has to bear?

In Shimamura's view, "Ye Zi is not dead, but her inner life is transforming into something else." This is a kind of detached beauty different from reality, and for foal, the unchangeable past and lost innocence can never be found again.

A big fire destroyed everything and turned everything into nothingness. Finally, Shimamura tried to get close to Komako, but was pushed aside by a group of men. He tried to get close, but he couldn't. Crazy is crazy, the end of the end, everyone has a predetermined fate, which seems to indicate that they will never be together.

-End-