I think this is a person who keeps struggling. He dare not and can't face up to his own people. He loves beauty, but he is extremely inferior in front of beauty. He is as timid as a mouse, and his limbs are weak under the bondage of sin.
After Yukiko fell asleep, Kikuji pulled out her arm. However, without Yukiko's body temperature, he felt a terrible loneliness. Still shouldn't get married, this chewing regret climbed into my heart, and the cold sleeper next door was waiting for him.
The characters in the book are absurd and confusing. Unspeakable emotional needs and laissez-faire emotional catharsis have broken through the limitations of traditional interpersonal relationships. Unwilling to indulge, but unable to escape, endless shame and uncontrollable affection are intertwined, making people unable to escape.
Following Yasunari Kawabata's three Nobel Prize-winning books Snow Country, Ancient Capital and Thousand Crane, I feel that his writing style is like a brush, understated and understated, like China landscape painting, and thousand cranes are the heaviest ink color.
The life experiences, moral concepts and emotional entanglements of the generation before and after World War II in Japan, because of the differences of the times and nationalities, we can't personally understand them, so we can only follow the words and spy out one or two of them with our imagination.
Seeing and worrying about the erosion of Japan's natural beauty and traditional beauty by the industrialization process, Kawabata Yasunari strives to faithfully record those beautiful seasons and cultural customs through the stories and characters in his works. Therefore, the book "Thousand Cranes" has enhanced my understanding of Japanese tea ceremony "harmony, respect and silence", including Mori no Rikyū, tea sets in teahouses, Ye Zhi pottery, music pottery, tea ordering, matcha and fried tea.
In the novel, whether it is Mrs. Ota who indulged father and son for two generations and led doomed love to a dead end, or Wen Zi who is equally weak and doomed to a teacup, or her latest son with a big mole on her seemingly ugliest breast, or Kikuji's mother who died in a hurry, or a clean and pure Yukiko girl, it is closely related to Kikuji and his son.
But in any case, it seems that all five women can only taste their own sadness. Or die under the oppression of strong guilt after satisfying uncontrollable sexual desire with abnormal love, or die young in the pain and jealousy of her husband's repeated betrayal, or die young with the sin and fate of the older generation in doomed love, or be abandoned and disgusted and can only carry out a strong but helpless sad resistance alone, or bear the regret of missing relatives because of beauty.
But the author seems to have a preference for the father and son who have emotional entanglements with these five women. My father's third aunt, who died at the beginning of the novel, does not seem to have suffered emotionally in the memories of other characters.
His son Kikuji has an abnormal relationship with Mrs. Ota. Although he suffers from mental torture from time to time and always feels guilty, Kawabata Yasunari unconsciously projects his male selfishness between the lines. He tried his best to maintain the image and status of men and praised women's tolerance, forbearance and even dependence as virtues.
When reading this book, there is always a sad feeling, a faint but inescapable emotion. The direct origin of this emotion may be the tangled feelings of the characters in the novel, as well as the loneliness and inevitable fate of the characters, which is always a constant sadness. The author expects thousands of pure white cranes to fly in the Woods and the sky in the sunset.
"Once the distress is over, won't it leave a trace?" "Once it's over, sometimes it's unforgettable."
If everything can be let go, maybe distress will really become a beautiful memory. However, when the source of distress is a kind of evil, unforgettable memories are not worth remembering. They will become endless clouds and invade people's hearts at any time, and they will feel fear.
Obviously, Kikuji has been shrouded in dark clouds, which come from the virtue and sin behind his parents. The book does not directly depict the image of the father, but more exists in the memory of Kikuji and the dictation of Mrs. Ota and Kenzi. As an outsider in the later period, he had a profound and lasting influence on the fate of a limited number of characters in the book.
The ambiguity between father and Mrs OTA and Chiko is the root of this fate entanglement, which comes from the conflict between emotion and morality, and from the confusion and punishment of ethics.
And this punishment continued to the next generation-Kikuji has been living in the shadow of his father, so that the pursuit of "beauty" is full of inferiority and shame. This sense of shame reached its peak in the further anti-German behavior of Kikuji and Mrs. Ota.
Fates are really too similar, so it is necessary for us to draw a conclusion that there really exists the theory of reincarnation of heaven.
Personally, I think Kikuji and his father are "sentimental people". In addition to his father's hazy feelings with Mrs. Ota, Kikuji admired Mrs. Ota's daughter Wen Zi. However, he finally chose Yukiko, the symbol of "beauty", and married her, but she lived a life unlike marriage.
On the one hand, it is not resistant to beauty, on the other hand, it is guilty of shame, and finally there is no love at all. What a deformed emotion and contradictory nature. I think it may be because the sinner of Juzhi quietly put his arm around the virgin, and he couldn't help crying. Behind the tears is constant torture.
I think this is a person who keeps struggling. He dare not and can't face up to his own people. He loves beauty, but he is extremely inferior in front of beauty. He is as timid as a mouse, and his limbs are weak under the bondage of sin.
After Yukiko fell asleep, Kikuji pulled out her arm. However, without Yukiko's body temperature, he felt a terrible loneliness. Still shouldn't get married, this chewing regret climbed into my heart, and the cold sleeper next door was waiting for him.
Evil seems to be contagious, just like the ugly mole with hair on the aggressive breast, which has been spreading in the chest. Kikuji's mind is too emotional, and evil is inevitable.
It suddenly occurred to me that I might as well just marry a foreigner and go abroad.
"Evil" will continue, and "beauty" can also be passed on. As a symbol of beauty, Ye Zhi Tea Bowl has been passed down for more than 300 years. After everyone's hands, it still maintains a wonderful posture. However, this kind of beauty is fragile, and its fate depends on people's hearts.
Beauty is born and tolerated, but human traces are forcibly brought in. Although the imprint of lips can be erased, the trace of mind can never be erased.
After the death of Mrs. Ota, Kikuji saw that the lipstick mark left on the tea bowl was still light brown. Whether it is the color of tea or lipstick, Kikuji can't say clearly, but isn't this color a reminder and condemnation?
At least in Kikuji's view, I remember Haruki Murakami once said: "Death is not the opposite of life, but always a part of life." (Excerpted from Norwegian Forest)
The memory of the deceased as the living continues to exist, which is a kind of torture and nostalgia for the living, and a warning to people who pursue beauty like Kikuji who dare not take a step forward.
I gave you the Ye Zhi pitcher as a souvenir in memory of my mother, and you accepted it happily. I accidentally wanted to give you a cylindrical teacup, but later I thought there was a better Ye Zhi teacup, and I felt uneasy.
Wen Zi later broke the tea bowl, and she tried her best to get rid of the pain left by the previous generation. She knew that Kikuji might meet a better tea bowl-she was not like this. Excessive nostalgia will only make her heart more painful and eventually choose to leave.
Another tea bowl sent by Guozi was sold by Kikuji. He still can't bear to break a beautiful thing. Since he can't have it, since he wants to get rid of it, let it go, maybe it's the best fate.
"No. The fate of that tea bowl is to leave us and disappear. "
Finally, there is a sentence in the book "Death refuses all understanding". Perhaps, if you really want to get rid of the entanglements in the world, death is the last and most effective way. Otherwise, how to eliminate the remaining crimes?
For the understanding of beauty, Yasunari Kawabata or most Japanese writers have similarities. The so-called "mourning for things" is the beauty of nothingness.
If Yukio Mishima's perception of beauty is like cherry blossoms-withering or killing peacocks at the best time-the beauty of destruction, then Kawabata Yasunari looks more traditional and Japanese, nihilistic and helpless.
However, Kawabata Yasunari is more calm in dealing with details, which is also combined with the continuation of Japanese traditional culture. In our domestic modern literature or pure literature, you can rarely see elements about traditional culture. The so-called Beijing opera, guqin, tea ceremony, calligraphy, etc. , are full of artificial and sour love and youth, so when I read the words describing the tea ceremony in Kawabata Yasunari's book, I feel strangely quiet.
Perhaps in the eyes of many people, Yasunari Kawabata's writing is too plain and even obscure, but rationally speaking, we don't mean that he won the Nobel Prize in Literature, but that he handled the details and integrated his thoughts. We don't talk about his right and wrong pursuit of nothingness. Only by looking at his understanding of life can we see the inner essence of Kawabata Yasunari.
Quote Kawabata Yasunari's acceptance speech when he won the Nobel Prize in Literature: "Kawabata Yasunari appreciates that delicate beauty very much and likes to express natural life and human destiny with that symbolic language that is often sad at his pen." This sentence can briefly summarize Kawabata Yasunari's thought to some extent.
People's memory will change with the depth of emotion. Distressed memories are not necessarily a kind of torture, but they can't be said to be pleasant. Released memories may make people mature. The characters in the novel are actually the epitome of Japanese culture and people.
We may not understand Kawabata Yasunari's pursuit of nothingness, but we can only learn from the text about the obsession of beauty and ugliness, the distance between sin and beauty, the change and significance of emotion and so on. Every reader will have his own ideas, and the meaning of literature is to reflect on himself rather than tend to be consistent.
A few days ago, when I was reading Buddhist scriptures, I saw that "everything is Buddhism, like a dream, like dew, like electricity, so I have to look at it this way." The so-called "should have no place to live and have a heart." This reminds me that Japan is also deeply influenced by Buddhism. Perhaps Yasunari Kawabata himself is also interested in Buddhism and Taoism in Japan, otherwise why did he pursue the beauty of nothingness all his life?
The end of the novel comes to an abrupt end, so a novel with such a small plot may have general interest and may leave people with reverie to conform to literature and life. We can regard the characters and the world in the novel as independent worlds. Does giving the characters a fixed ending limit their "life span?"
Whether it is Kikuji and Yukiko's married life or their past with Wen Zi, Mrs. Ota's memories are doomed to be endless entanglements. Just like that poem: "Thousands of cranes dream in spring". Indeed, all yearning for beauty, yearning for beauty is illusory, like a dream.
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