Snow Country
by
Yasunari Kawabata
ALSO BY YASUNARI KAWABATA
Thousand Cranes (1959)*
The Sound of the Mountain (1970)*
The Master of Go (1972)*
Beauty and Sadness (1975)*
* AVAILABLE IN PERIGEE BOOKS EDITIONS
SNOW COUNTRY
YASUNARI KAWABATA
Translated from the Japanese by
EDWARD G. SEIDENSTICKER
A WIDEVIEW/PERIGEE BOOK
Perigee Books are published by G. P. Putnam's Sons
200 Madison Avenue
New York, N. Y. 10016
Copyright (c) 1957 by Alfred A. Knopf, Inc.
All rights reserved. This book or parts thereof, may not be reproduced in any form without permission.
Published simultaneously in Canada by Academic Press Canada Limited, Toronto.
This is an authorized reprint of a hardcover edition originally published by Alfred A. Knopf, Inc.
Originally published in Japanese as Yukiguni.
Library of Congress Cataloging in Publication Data
Kawabata, Yasunari, 1899-1972.
Snow Country.
Translation of Yukiguni.
Originally published by Knopf, New York.
I. Title.
PL832.A9Y813 1981 895.6'34 80-39979
ISBN 0-399-50525-3
First Perigee Printing, 1981
Sixth Impression
Printed in the United States of America
INTRODUCTION
IN THE WINTER, cold winds blow down from Siberia, pick up moisture over the Japan Sea, and drop it as snow when they strike the mountains of Japan. The west coast of the main island of Japan is probably for its latitude (roughly, from Cape Hatteras to New York, or from Spanish Morocco to Barcelona) the snowiest region in the world. From December to April or May only the railroads are open, and the snow in the mountains is sometimes as much as fifteen feet deep.
The expression "snow country," then, does not mean simply country where snow falls. It means very specifically the part of the main island that lies west of the central mountain range. It suggests long, gray winters, tunnels under the snow, dark houses with rafters black from the smoke of winter fires—and perhaps chilblains, or, to the more imaginative, life divorced from time through the long snowbound months.
The hot springs, one of which is the locale of Snow Country, also have a peculiarly Japanese significance. The Japanese seldom goes to a hot spring for his health, and he never goes for "the season," as people once went to Bath or Saratoga. He may ski or view maple leaves or cherry blossoms, but his wife is usually not with him. The special delights of the hot spring are for the unaccompanied gentleman. No prosperous hot spring is without its geisha and its compliant hotel maids.
If the hot-spring geisha is not a social outcast, she is perilously near being one. The city geisha may become a celebrated musician or dancer, a political intriguer, even a dispenser of patronage. The hot-spring geisha must go on entertaining week-end guests, and the pretense that she is an artist and not a prostitute is often a thin one indeed. It is true that she sometimes marries an old guest, or persuades him to open a restaurant for her; but the possibility that she will drift from one hot spring to another, more unwanted with each change, makes her a particularly poignant symbol of wasted, decaying beauty.
It is not by chance that Kawabata Yasunari has chosen a hot-spring geisha for the heroine and the dark snow country for the setting of this novel. Darkness and wasted beauty run like a ground bass through his major work, and in Snow Country we perhaps feel most strongly the cold loneliness of the Kawabata world.
Kawabata was born near Osaka in 1899 and was orphaned at the age of two. His short stories began to attract attention soon after his graduation from Tokyo Imperial University. He presently became a leading figure in the lyrical school that offered the chief opposition to the proletarian literature of the late twenties. Snow Country was begun in 1934 and published piecemeal between 1935 and 1937. In 1947 a final installment was added, and the novel completed as it stands today.
Kawabata hs been put, I think rightly, in a literary line that can be traced back to seventeenth-century haiku masters. Haiku are tiny seventeen-syllable poems that seek to convey a sudden awareness of beauty by a mating of opposite or incongruous terms. Thus the classical haiku characteristically fuses motion and stillness. Similarly Kawabata relies very heavily on a mingling of the senses. In Snow Country we come upon the roaring silence of a winter night, for instance, or the round softness of the sound of running water, or, in a somewhat more elaborate figure, the sound of a bell, far back in the singing of a teakettle, suddenly becomes a woman's feet. In the best of the dialogue, one brief sentence, often a double-entendre, is exchanged for another, much as characters in Japanese romances converse by exchanging brief poems.
The haiku manner presents a great challenge to the novelist. The manner is notable for its terseness and austerity, so that his novel must rather be like a series of brief flashes in a void. In Snow Country Kawabata has chosen a theme that makes a meeting between haiku and the novel possible. The hero is a wealthy dilettante quite incapable of love, and the heroine a hot-spring geisha, clean in the midst of corruption and yet somehow decaying before our eyes. The two try to love, but love can mever bring them together. The nearer they are the farther apart they are. Shimamura, the hero, has built himself a half-cynical, half-wishful dream world, occupied by very little that suggests flesh and blood. He is an expert on the occidental ballet, but he has never seen a ballet. Indeed we are given cause to suspect that he would close his eyes if a ballet were set down in front of him. His love affair with Komako, the geisha, is doomed from the start. Through her he is drawn to Yoko, a strange, intense girl who, in Kawabata's image, glows like a light off in the mountain darkness; but he can take neither Komako nor Yoko as a person. They can bring him no nearer their humanity or his own, and he presently knows that the time has come for him to leave.
Komako, for her part, has missed none of this. "You're a good girl," Shimamura says affectionately in the climactic scene of the novel. But when, a moment later, he unconsciously shifts to "You're a good woman." she sees that she has been used. She too knows that he must leave. It would be hard to think of another novel in which so slight a shift in tone reveals so much.
The final scene only brings the inevitable. We know, as Komako staggers from the burning warehouse with Yoko in her arms, that Komako and Shimamura have parted. Shimamura will go back to the city and continue to play the cold dilettante, while Komako will, as she herself has said, "go pleasantly to seed" in the mountains. Yoko is the burden she must bear, and the burden is made heavier by the fact that the two women have twice been rivals in love, once, in a way never clearly defined for us, with the dying Yukio, again with Shimamura. Little of this is stated directly. We are not even told whether Yoko is alive or dead at the end of the novel. If the reader finds the last few pages puzzling, however, he should remember that everything has already been implicitly suggested. The novel has in effect ended with Shimamura listening to the sound of the bell in the teakettle. The fire scene, beautifully written though it is, only emphasizes a point that has already been made.
Snow Country is perhaps Kawabata's masterpiece. He has found in Shimamura's love affair the perfect symbol for a denial of love, and he has in the woman Komako and in the shadowy beauty of the snow country fit subjects for the haiku-like flashes that bring the denial forth. And, in the final analysis, the very success of the novel becomes a sort of affirmation of the humanity that is being denied.
E.G.S.
SNOW COUNTRY
PART ONE
THE TRAIN came out of t
he long tunnel into the snow country. The earth lay white under the night sky. The train pulled up at a signal stop.
A girl who had been sitting on the other side of the car came over and opened the window in front of Shimamura. The snowy cold poured in. Leaning far out the window, the girl called to the station master as though he were a great distance away.
The station master walked slowly over the snow, a lantern in his hand. His face was buried to the nose in a muffler, and the flaps of his cap were turned down over his ears.
It's that cold, is it, thought Shimamura. Low, barracklike buildings that might have been railway dormitories were scattered here and there up the frozen slope of the mountain. The white of the snow fell away into the darkness some distance before it reached them.
"How are you?" the girl called out. "It's Yoko."
"Yoko, is it. On your way back? It's gotten cold again."
"I understand my brother has come to work here. Thank you for all you've done."
"It will be lonely, though. This is no place for a young boy."
"He's really no more than a child. You'll teach him what he needs to know, won't you."
"Oh, but he's doing very well. We'll be busier from now on, with the snow and all. Last year we had so much that the trains were always being stopped by avalanches, and the whole town was kept busy cooking for them."
"But look at the warm clothes, would you. My brother said in his letter that he wasn't even wearing a sweater yet."
"I'm not warm unless I have four layers, myself. The young ones start drinking when it gets cold, and the first thing you know they're over there in bed with colds." He waved his lantern toward the dormitories.
"Does my brother drink?"
"Not that I know of."
"You're on your way home now, are you?"
"I had a little accident. I've been going to the doctor."
"You must be more careful."
The station master, who had an overcoat on over his kimono, turned as if to cut the freezing conversation short. "Take care of yourself," he called over his shoulder.
"Is my brother here now?" Yoko looked out over the snow-covered platform. "See that he behaves himself." It was such a beautiful voice that it struck one as sad. In all its high resonance it seemed to come echoing back across the snowy night.
The girl was still leaning out the window when the train pulled away from the station. "Tell my brother to come home when he has a holiday," she called out to the station master, who was walking along the tracks.
"I'll tell him," the man called back.
Yoko closed the window and pressed her hands to her red cheeks.
Three snowplows were waiting for the heavy snows here on the Border Range. There was an electric avalanche-warning system at the north and south entrances to the tunnel. Five thousand workers were ready to clear away the snow, and two thousand young men from the volunteer fire-departments could be mobilized if they were needed.
Yoko's brother would be working at this signal stop, so soon to be buried under the snow—somehow that fact made the girl more interesting to Shimamura.
"The girl"—something in her manner suggested the unmarried girl. Shimamura of course had no way of being sure what her relationship was to the man with her. They acted rather like a married couple. The man was clearly ill, however, and illness shortens the distance between a man and a woman. The more earnest the ministrations, the more the two come to seem like husband and wife. A girl taking care of a man far older than she, for all the world like a young mother, can from a distance be taken for his wife.
But Shimamura in his mind had cut the girl off from the man with her and decided from her general appearance and manner that she was unmarried. And then, because he had been looking at her from a strange angle for so long, emotions peculiarly his own had perhaps colored his judgment.
It had been three hours earlier. In his boredom, Shimamura stared at his left hand as the forefinger bent and unbent. Only this hand seemed to have a vital and immediate memory of the woman he was going to see. The more he tried to call up a clear picture of her, the more his memory failed him, the farther she faded away, leaving him nothing to catch and hold. In the midst of this uncertainty only the one hand, and in particular the forefinger, even now seemed damp from her touch, seemed to be pulling him back to her from afar. Taken with the strangeness of it, he brought the hand to his face, then quickly drew a line across the misted-over window. A woman's eye floated up before him. He almost called out in his astonishment. But he had been dreaming, and when he came to himself he saw that it was only the reflection in the window of the girl opposite. Outside it was growing dark, and the lights had been turned on in the train, transforming the window into a mirror. The mirror had been clouded over with steam until he drew that line across it.
The one eye by itself was strangely beautiful, but, feigning a traveler's weariness and putting his face to the window as if to look at the scenery outside, he cleared the steam from the rest of the glass.
The girl leaned attentively forward, looking down at the man before her. Shimamura could see from the way her strength was gathered in her shoulders that the suggestion of fierceness in her eyes was but a sign of an intentness that did not permit her to blink. The man lay with his head pillowed at the window and his legs bent so that his feet were on the seat facing, beside the girl. It was a third class coach. The pair were not directly opposite Shimamura but rather one seat forward, and the man's head showed in the window-mirror only as far as the ear.
Since the girl was thus diagonally opposite him, Shimamura could as well have looked directly at her. When the two of them came on the train, however, something coolly piercing about her beauty had startled Shimamura, and as he hastily lowered his eyes he had seen the man's ashen fingers clutching at the girl's. Somehow it seemed wrong to look their way again.
The man's face in the mirror suggested the feeling of security and repose it gave him to be able to rest his eyes on the girl's breast. His very weakness lent a certain soft balance and harmony to the two figures. One end of his scarf served as a pillow, and the other end, pulled up tight over his mouth like a mask, rested on his cheek. Now and then it fell loose or slipped down over his nose, and almost before he had time to signal his annoyance the girl gently rearranged it. The process was repeated over and over, automatically, so often that Shimamura, watching them, almost found himself growing impatient. Occasionally the bottom of the overcoat in which the man's feet were wrapped would slip open and fall to the floor, and the girl would quickly pull it back together. It was all completely natural, as if the two of them, quite insensitive to space, meant to go on forever, father and farther into the distance. For Shimamura there was none of the pain that the sight of something truly sad can bring. Rather it was as if he were watching a tableau in a dream—and that was no doubt the working of his strange mirror.
In the depths of the mirror the evening landscape moved by, the mirror and the reflected figures like motion pictures superimposed one on the other. The figures and the background were unrelated, and yet the figures, transparent and intangible, and the background, dim in the gathering darkness, melted together into a sort of symbolic world not of this world. Particularly when a light out in the mountains shone in the center of the girl's face, Shimamura felt his chest rise at the inexpressible beauty of it.
The montain sky still carried traces of evening red. Individual shapes were clear far into the distance, but the monotonous mountain landscape, undistinguished for mile after mile, seemed all the more undistinguished for having lost its last traces of color. There was nothing in it to catch the eye, and it seemed to flow along in a wide, unformed emotion. That was of course because the girl's face was floating over it. Cut off by the face, the evening landscape moved steadily by around its outlines. The face too seemed transparent—but was it really transparent? Shimamura had the illusion that the evening landscape was actually passing over the face, and the flow did not stop to let
him be sure it was not.
The light inside the train was not particularly strong, and the reflection was not as clear as it would have been in a mirror. Since there was no glare, Shimamura came to forget that it was a mirror he was looking at. The girl's face seemed to be out in the flow of the evening mountains.
It was then that a light shone in the face. The reflection in the mirror was not strong enough to blot out the light outside, nor was the light strong enough to dim the reflection. The light moved across the face, though not to light it up. It was a distant, cold light. As it sent its small ray through the pupil of the girl's eye, as the eye and the light were superimposed one on the other, the eye became a weirdly beautiful bit of phosphorescence on the sea of evening mountains.
There was no way for Yoko to know that she was being stared at. Her attention was concentrated on the sick man, and even had she looked toward Shimamura, she would probably not have seen her reflection, and she would have paid no attention to the man looking out the window.
It did not occur to Shimamura that it was improper to stare at the girl so long and stealthily. That too was no doubt because he was taken by the unreal, otherworldly power of his mirror in the evening landscape.
When, therefore, the girl called out to the station master, her manner again suggesting over-earnestness, Shimamura perhaps saw her first of all as rather like a character out of an old, romantic tale.
The window was dark by the time they came to the signal stop. The charm of the mirror faded with the fading landscape. Yoko's face was still there, but for all the warmth of her ministrations, Shimamura had found in her a transparent coldness. He did not clear the window as it clouded over again.
He was startled, then, when a half-hour later Yoko and the man got off the train at the same station as he. He looked around as though he were about to be drawn into something, but the cold air on the platform made him suddenly ashamed of his rudeness on the train. He crossed the tracks in front of the locomotive without looking back again.
Snow Country Page 1
