Snow Country

by Yasunari Kawabata

  The man, clinging to Yoko's shoulder, was about to climb down to the tracks from the platform opposite when from this side a station attendant raised a hand to stop them.

  A long freight train came out of the darkness to block them from sight.

  The porter from the inn was so well-equipped for the cold that he suggested a fireman. He had on ear flaps and high rubber boots. The woman looking out over the tracks from the waiting-room wore a blue cape with the cowl pulled over her head.

  Shimamura, still warm from the train, was not sure how cold it really was. This was his first taste of the snow-country winter, however, and he felt somewhat intimidated.

  "Is it as cold as all that?"

  "We're ready for the winter. It's always especially cold the night it clears after a snow. It must be below freezing tonight."

  "This is below freezing, is it?" Shimamura looked up at the delicate icicles along the eaves as he climbed into the taxi. The white of the snow made the deep eaves look deeper still, as if everything had sunk quietly into the earth.

  "The cold here is different, though, that's easy to see. It feels different when you touch something."

  "Last year it went down to zero."

  "How much snow?"

  "Ordinarily seven or eight feet, sometimes as much as twelve or thirteen, I'd say."

  "The heavy snows come from now on?"

  "They're just beginning. We had about a foot, but it's melted down a good bit."

  "It's been melting, has it?"

  "We could have a heavy snow almost any time now, though."

  It was the beginning of December.

  Shimamura's nose had been stopped by a stubborn cold, but it cleared to the middle of his head in the cold air, and began running as if the matter in it were washing cleanly away.

  "Is the girl who lived with the music teacher still around?"

  "She's still around. You didn't see her in the station? In the dark-blue cape?"

  "So that's who it was. We can call her later, I suppose?"

  "This evening?"

  "This evening."

  "I hear the music teacher's son came back on your train. She was at the station to meet him."

  The sick man he had watched in that evening mirror, then, was the son of the music teacher in whose house the woman Shimamura had come to see was living.

  He felt a current pass through him, and yet the coincidence did not seem especially remarkable. Indeed he was surprised at himself for being so little surprised.

  Somewhere in his heart Shimamura saw a question, as clearly as if it were standing there before him: was there something, what would happen, between the woman hid hand remembered and the woman in whose eye that mountain light had glowed? Or had he not yet shaken off the spell of the evening landscape in that mirror? He wondered whether the flowing landscape was not perhaps symbolic of the passage of time.

  The hot-spring inn had its fewest guests in the weeks before the skiing season began, and by the time Shimamura had come up from the bath the place seemed to be asleep. The glass doors rattled slightly each time he took a step down the sagging corridor. At the end, where it turned past the office, he saw the tall figure of the woman, her skirts trailing coldly off across the dark floor.

  He started back as he saw the long skirts—had she finally become a geisha? She did not come toward him, she did not bend in the slightest movement of recognition. From the distance he caught something intent and serious in the still form. He hurried up to her, but they said nothing even when he was beside her. She started to smile through the thick, white geisha's powder. Instead she melted into tears, and the two of them walked off silently toward his room.

  In spite of what had passed between them, he had not written to her, or come to see her, or sent her the dance instructions he had promised. She was no doubt left to think that he had laughed at her and forgotten her. It should therefore have been his part to begin with an apology or an excuse, but as they walked along, not looking at each other, he could tell that, far from blaming him, she had room in her heart only for the pleasure of regaining what had been lost. He knew that if he spoke he would only make himself seem the more wanting in seriousness. Overpowered by the woman, he walked along wrapped in a soft happiness. Abruptly, at the foot of the stairs, he shoved his left fist before her eyes, with only the forefinger extended.

  "This remembered you best of all."

  "Oh?" The woman took the finger in her hand and clung to it as though to lead him upstairs.

  She let go his hand as they came to the kotatsu* in his room, and suddenly she was red from her forehead to her throat. As if to conceal her confusion, she clutched at his hand again.

  * * *

  * A charcoal brazier covered by a wooden frame and a quilt. Although it warms little more than the hands and feet, the kotatsu is the only heating device in the ordinary Japanese house.

  * * *

  "This remembered me?"

  "Not the right hand. This." He pushed his right hand into the kotatsu to warm it, and again gave her his left fist with the finger extended.

  "I know." Her face carefully composed, she laughed softly. She opened his hand, and pressed her cheek against it. "This remembered me?"

  "Cold! I don't think I've ever touched such cold hair."

  "Is there snow in Tokyo yet?"

  "You remember what you said then? But you were wrong. Why else would anyone come to such a place in December?"

  "Then": the danger of avalanches was over, and the season for climbing mountains in the spring green had come.

  Presently the new sprouts would be gone from the table.

  Shimamura, who lived a life of idleness, found that he tended to lose his honesty with himself, and he frequently went our alone into the mountains to recover something of it. He had come down to the hot-spring village after seven days in the Border Range. He asked to have a geisha called. Unfortunately, however, there was a celebration that day in honor of the opening of a new road, the maid said, so lively a celebration that the town's combined cocoon-warehouse and theater had been taken over, and the twelve or thirteen geisha had more that enough to keep them busy. The girl who lived at the music teacher's might come, though. She sometimes helped at parties, but she would have gone home after no more than one or two dances. As Shimamura questioned her, the maid told him more about the girl who was not a geisha but who was sometimes asked to help at large parties. Since there were no young apprentice geisha in the town, and since most of the local geisha were at an age when they preferred not to have to dance, the services of the girl were much valued. She almost never came alone to entertain a guest at the inn, and yet she could not exactly be called an amateur—such in general was the maid's story.

  An odd story, Shimamura said to himself, and dismissed the matter. An hour or so later, however, the woman from the music teacher's came in with the maid. Shimamura brought himself up straight. The maid started to leave but was called back by the woman.

  The impression the woman gave was a wonderfully clean and fresh one. It seemed to Shimamura that she must be clean to the hollows under her toes. So clean indeed did she seem that he wondered whether his eyes, back from looking at early summer in the mountains, might not be deceiving him.

  There was something about her manner of dress that suggested the geisha, but she did not have the trailing geisha skirts. On the contrary, she wore her soft, unlined summer kimono with am emphasis on careful propriety. The obi* seemed expensive, out of keeping with the kimono, and struck him as a little sad.

  * * *

  * The sash with which a kimono is tied. A woman's obi is wide and stiff, a man's narrower and usually softer.

  * * *

  The maid slipped out as they started talking about the mountains. The woman was not very sure of the names of the mountains that could be seen from the inn, and, since Shimamura did not feel the urge to drink that might have come to him in the company of an ordinary geisha, she began telling of her past in
a surprisingly matter-of-fact way. She was born in this snow country, but she had been put under contract as a geisha in Tokyo. Presently she found a patron who paid her debts for her and proposed to set her up as a dancing teacher, but unfortunately a year and a half later he died. When it came to the story of what happened since, the story of what was nearest to her, she was less quick to tell her secrets. She said she was nineteen. Shimamura had taken her to be twenty-one of twenty-two, and, since he assumed that she was not lying, the knowledge that she had aged beyond her years gave him for the first time a little of the ease he expected to feel with a geisha. When began talking of the Kabuki, he found that she knew more about actors and styles than he did. She talked on feverishly, as though she had been starved for someone who would listen to her, and presently began to show an ease and abandon that revealed her to be at heart a woman of the pleasure quarters after all. And she seemed in general to know what there was to know about men. Shimamura, however, had labeled her an amateur and, after a week in the mountains during which he had spoken to almost no one, he found himself longing for a companion. It was therefore friendship more than anything else that he felt for the woman. His response to the mountains had extended itself to cover her.

  On her way to the bath the next afternoon, she left her towel and soap in the hall and came in to talk to him.

  She had barely taken a seat when he asked her to call him a geisha.

  "Call you a geisha?"

  "You know what I mean."

  "I didn't come to be asked that." She stood up abruptly and went over to the window, her face reddening as she looked out at the mountains. "There are no women like that here."

  "Don't be silly."

  "It's the truth." She turned sharply to face him, and sat down on the window sill. "No one forces a geisha to do what she doesn't want to. It's entirely up to the geisha herself. That's one service the inn won't provide for you. Go ahead, try calling someone and talking to her yourself, if you want to."

  "You call someone for me."

  "Why do you expect me to do that?"

  "I'm thinking of you as a friend. That's why I've behaved so well."

  "And this is what you call being a friend?" Led on by his manner, she had become engagingly childlike. But a moment later she burst out: "Isn't if fine that you think you can ask me a thing like that!"

  "What is there to be so excited about? I'm too healthy after a week in the mountains, that's all. I keep having the wrong ideas. I can't even sit here talking to you the way I would like to."

  The woman was silent, her eyes on the floor, Shimamura had come to a point where he knew he was only parading his masculine shamelessness, and yet it seemed likely enough that the woman was familiar with the failing and need not be shocked by it. He looked at her. Perhaps it was the rich lashes of the downcast eyes that made her face seem warm and sensuous. She shook her head very slightly, and again a faint blush spread over her face.

  "Call any geisha you like."

  "But isn't that exactly what I'm asking you to do? I've never been here before, and I've no idea which geisha are the best-looking."

  "What do you consider good-looking?"

  "Someone young. You're less apt to make mistakes when they're young. And someone who doesn't talk too much. Clean, and not too quick. When I want someone to talk to, I can talk to you."

  "I'll not come again."

  "Don't be foolish."

  "I said I'll not come again. Why should I come again?"

  "But haven't I told you it's exactly because I want to be friends with you that I've behaved so well?"

  "You've said enough."

  "Suppose I were to go too far with you. Very probably tomorrow I wouldn't want to talk to you. I couldn't stand the sight of you. I've had to come into the mountains to want to talk to people again, and I've left you alone so that I can talk to you. And what about yourself? You can't be too careful with travelers."

  "That's true."

  "Of course it is. Think of yourself. If it were a woman you objected to, you wouldn't want to see me afterwards. It would be much better for her to be a woman you picked out."

  "I don't want to hear any more." She turned sharply away, but presently she added: "I suppose there's something in what you say."

  "An affair of the moment, no more. Nothing beautiful about it. You know that—it couldn't last."

  "That's true. It's that way with everyone who comes here. This is a hot spring and people are here for a day or two and gone." Her manner was remarkably open—the transition had been almost too abrupt. "The guests are mostly travelers. I'm still just a child myself, but I've listened to all the talk. The guest who doesn't say he's fond of you, and yet you somehow know is—he's the one you have pleasant memories of. You don't forget him, even long after he's left you, they say. And he's the one you get letters from."

  She stood up from the window sill and took a seat on the mat below it. She seemed to be living in the past, and yet she seemed to be very near Shimamura.

  Her voice carried such a note of immediate feeling that he felt a little guilty, as though he had deceived her too easily.

  He had not been lying, though. To him this woman was an amateur. His desire for a woman was not of a sort to make him want this particular woman—it was something to be taken care lightly and with no sense of guilt. This woman was too clean. From the moment he saw her, he had separated this woman and the other in his mind.

  Then too, he had been trying to decide where he could go to escape the summer heat, and it occurred to him that he could bring his family to this mountain hot spring. The woman, being fortunately an amateur, would be a good companion for his wife. He was quite serious about it. He said he felt only friendship for the woman, but he had his reasons for thus stepping into shallow water without taking the final plunge.

  And something like that evening mirror was no doubt at work here too. He disliked the thought of drawn-out complications from an affair with a woman whose position was so ambiguous; but beyond that he saw her as somehow unreal, like the woman's face in that evening mirror.

  His taste for the occidental dance had much the same air of unreality about it. He had grown up in the merchants' section of Tokyo, and he had been thoroughly familiar with the Kabuki theater from his childhood. As a student his interests had shifted to the Japanese dance and dance-drama. Never satisfied until he learned everything about his subject, he had taken to searching through old documents and visiting the heads of various dance schools, and presently he had made friends with rising figures in the dance world and was writing what one might call research pieces and critical essays. It was but natural, then, that he should come to feel a keen dissatisfaction with the slumbering old tradition as well as with reformers who sought only to please themselves. Just as he had arrived at the conclusion that there was nothing for it but to throw himself actively into the dance movement, and as he was being persuaded to do so by certain of the younger figures in the dance world, he abruptly switched to the occidental dance. He stopped seeing the Japanese dance. He gathered pictures and descriptions of the occidental ballet, and began laboriously collecting programs and posters from abroad. This was more than simple fascination with the exotic and the unknown. The pleasure he found in his new hobby came in fact from his inability to see with his own eyes occidentals in occidental ballets. There was proof of this in his deliberate refusal to study the ballet as performed by Japanese. Nothing could be more comfortable than writing about the ballet from books. A ballet he had never seen was an art in another world. It was an unrivaled armchair reverie, a lyric from some paradise. He called his work research, but it was actually free, uncontrolled fantasy. He preferred not to savor the ballet in the flesh; rather he savored the phantasms of his own dancing imagination, called up by Western books and pictures. It was like being in love with someone he had never seen. But it was also true that Shimamura, with no real occupation, took some satisfaction from the fact that his occasional introductions to t
he occidental dance put him on the edge of the literary world—even while he was laughing at himself and his work.

  It might be said that his knowledge was now for the first time in a very great while being put to use, since talk of the dance helped bring the woman nearer to him; and yet it was also possible that, hardly knowing it, he was treating the woman exactly as he treated the occidental dance.

  He felt a little guilty, as though he had deceived her, when he saw how the frivolous words of the traveler who would be gone tomorrow seemed to have struck something deep and serious in the woman's life.

  But he went on: "I can bring my family here, and we can all be friends."

  "I understand that well enough." She smiled, her voice falling, and a touch of the geisha's playfulness came out. "I'd like that much better. It lasts longer if you're just friends."

  "You'll call someone, then?"

  "Now?"

  "Now."

  "But what can you say to a woman in broad daylight?"

  "At night there's too much danger of getting the dregs no one else wants."

  "You take this for a cheap hot-spring town like any other. I should think you could tell just from looking at the place." Her tone was sober again, as though she felt thoroughly degraded. She repeated with the same emphasis as before that there were no girls here of the sort he wanted. When Shimamura expressed his doubts, she flared up, then retreated a step. It was up to the geisha whether she would stay the night or not. If she stayed without permission from her house, it was her own responsibility. If she had permission the house took full responsibility, whatever happened. That was the difference.

  "Full responsibility?"

  "If there should happen to be a child, or some sort of disease."

  Shimamura smiled wryly at the foolishness of his question. In a mountain village, though, the arrangements between a geisha and her keeper might indeed still be so easygoing...