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Japanese writer Yasunari Kawabata's novella "Beauty and Sorrow", which began serialization in 1961 and ended in 1963, during which he said that "suicide without suicide is the best, and wordless death is unlimited life." Eight years later, on April 16, 1972, Yasunari Kawabata suddenly committed suicide with a gas pipe in his mouth, leaving no suicide note.
From Yasunari Kawabata's early works "The Dancing Girl of Izu" to his late works "Beauty and Sorrow", if you carefully study a line, you will sort out the reasons for Kawabata Yasunari's suicide.
When he was 16 years old, his last relative, his grandfather, died, and from a young age, the frail and sick Kawabata Yasunari was in a perennial claustrophobic home, psychologically sensitive and lonely, and his unfortunate life made him form a lonely "orphan temperament". This character made his writing and led him into an abyss that would be difficult to escape in his lifetime.
?? [Light snow]
Talking about "The Dancer of Izu", you will think of the three mouths of Baihui, because "The Dancer of Izu" has been put on the screen 6 times, and Chinese audiences only have a special love for the three-mouth Baihui version of "The Dancer of Izu".
Momoe Miguchi plays Izu's dancing girl Fumiko. "I", a 19-year-old high school student, came to Izu alone to escape his inner melancholy and bitterness, and met a group of wandering artists. "I" was touched by the innocence and beauty of the little dancer, and involuntarily followed her all the way until she said goodbye.
The book cover is too plump, and the appearance of the three mouths is just right
"The Dancing Girl of Izu" is permeated with a kind of sadness, and the two people in the novel have never poured out their love for each other, but before anything has begun, it is already over. This kind of mourning consciousness can only be written by Yasunari Kawabata, who was born with the temperament of mourning, and this kind of mourning has been escalated more and more later. Reading Yasunari Kawabata's book, the surface is a kind of static, but the heart is magnificent, and the social significance and beauty reflected between his lines make people's hearts always move downstream in his hints.
Written in the first person, "The Dancing Girl of Izu" has traces of Yasunari Kawabata's autobiography, the most important of which is "I am twenty years old, and I have repeatedly and strictly introspected myself, and my character has been distorted by the temperament of an orphan." I can't stand the suffocating melancholy before I travel to Izu", it was almost Yasunari Kawabata writing himself. In reality, Yasunari Kawabata traveled well all his life, his mood was bitter, and his personality was lonely, which also formed his unique literary background.
"I" am sad about her longing for her, and her life is also sad. In order to make a living, Xuezi carries drums and drum racks all year round, and crosses the mountains and mountains to sell art. He had encountered the old woman's bad words, the bird shop merchant's evil heart, and the contempt of the small innkeeper. In some village entrances, a sign was erected that read, "Beggars and performers are forbidden to enter the village," and the sage exists humbly in this world. Her actual age is only 14 years old, but she has to smile under the pressure of life, exuding the sadness given by Yasunari Kawabata.
The characters of the novel have more or less the shadow of the author, it is sometimes placed on several characters, once this trait appears, we know the author better, then the depth of the novel is pried up, no matter how it is interpreted, its background color is unchanged.
The situation of "I" was originally unbearable, but in Japan under the old social system, because "I" was a man and went to high school, I was pushed to a higher position in society, and in front of the dancer Xuezi, who was at the bottom of society, the superior figure of "I" was called "I" Young Master.
The first time Shezi spoke to "me," she panicked and whispered, her face flushed. When "I" walked the rugged country trails with the dancers, The Sage always followed "me" and kept a distance of two meters. When he found the spring water, Xuezi asked "I" to drink it first, and bent down to dust "I" off the dust on his body. When descending the mountain, Xuezi makes a cane for "me". "I" was going to go out, and Xuezi rushed to the door and laid out the clogs for me. ---------------------------------------- When Yasunari Kawabata handed over his heart to "me", he seemed to be liberated, let "I" do what he wanted to do, let "I say what he wanted to say, if the writer's writing is an outlet, then looking for clues, you can imagine how sharp Kawabata Yasunari's "borrowing pen to vent anger" is.
No matter how humble Kawabata Yasunari or "I" are, there is a social class like Kawabata Yasunari or "I" who is the social elite and can get the respect and preferential treatment of others. And "I" have feelings for xuezi's first love, maybe more sympathy!
?? [Komagata]
Komako lives in snow country and has to work as a geisha in order to repay the master and earn money to treat his master's son. Dance art researcher Shimamura and Komako met in Snow Country, and have been going to Snow Country every year since then to meet Komako. He felt that the colts of the snow country were clean at every bend of their toes.
On Shimamura's second trip to Snow Country, she meets Komako and Leaf returning from Tokyo on the train, and Shimamura admires the snow through the window, but sees the beautiful leaves reflected on the window, and can't help but like her. Thus, the novel unfolds between Shimamura, Komako, and Leaf.
The author's snow country is the product of "material mourning literature"
"Snow Country" is a mid-term work of Yasunari Kawabata, and it is also a masterpiece, in which the beauty of the "material lament" depicted in the sorrow of nature has reached the extreme, and it is also a work in which Yasunari Kawabata pushes the lament for nature to the peak after his lament for people and the world.
If "The Dancing Girl of Izu" is the embodiment of Yasushi Kawabata's melancholy temperament, then in "Snow Country", the melancholy intensifies into sorrow, with a painful performance, so that the Japanese style of mourning has sympathy, pity, sadness, and a higher level of sadness.
How can we not grieve? When Yasunari Kawabata wrote Snow Country, it was the era when Japanese imperialism was waging a frenzied war of aggression, and he could do nothing but send out a writer's lament about the world. He soaks the lament in the scene, hides it in the mentality of the characters, and tells himself and the world: life is futile.
This kind of book generally needs to be read twice, the first time through the story, the second time to think, thinking about the details hidden in the scenery and characters, breaking the spirituality of nature, and the author who expresses the beauty of natural spirituality, breaking it, crushing it, and tasting it carefully.
Like Izu's dancer, Sakurako falls in love with Shimamura, but because of Shimamura's status and her lowly status as a geisha, she loves her.
Komako is also a person living at the bottom of society, and has no use but to serve good men in debauchery. Like Sakura, she can get a little sympathy and pity when she meets men like "me" and Shimamura, who are just playthings in the eyes of most men.
Komako is obsessed with Shimamura, and for Shimamura, she strives to read and take notes, practice the piano, and close the distance with Shimamura. But her efforts were seen in vain by Shimamura, a man who had no proper occupation and lived a leisurely and lazy life on the property left by his ancestors, due to his extreme spiritual emptiness, studying Western dance to fill it, and he did anything himself in vain, how could he believe that Komako's words and deeds were not in vain? He even believed that even life was fickle, futile, and nihilistic.
Such an shimamura fell in love with the leaves around komako, and the leaves were like a dream that Shimamura could not grasp. - Komako can't catch Shimamura, Shimamura can't catch leaves, everything is nothing.
In describing the loss of leaves in the fire, Yasunari Kawabata writes: The stiff body falls from the air and appears very soft, but the posture, like a puppet, has no struggle, no life, no restraint, and seems to be beyond life and death. If you think about it carefully, you will find that Kawabata Yasunari's description of death is unusually calm, as if death is the end of happiness, and after death, like everything in nature, it is nothing, clean, and becomes a part of nature.
Yasunari Kawabata wrote with age and mentality all his life, the first love that wrote "The Dancing Girl of Izu" when he was young, the male who wrote "Snow Country" and "Beauty and Sorrow" in middle age, and the perverted love psychology of some old people in the later period, so the work was repeatedly recognized as his life experience.
?? [Tone]
How can you not think so?
The writer Ohki in "Beauty and Sorrow", I once fell into the trap of Yasunari Kawabata, thinking that Ohki was him, he was Ohki. One of the "good times" he even confessed was that he became famous for a novel, the family had money, life had changed, and his wife was no longer worried. How similar to the trajectory of his life.
And the most powerful thing about him is that when describing a person like Ogi, it is actually like telling a news event, what is what is, not making evaluations, remembering the reader in the process of reading, talking to him, adding "Ohki's psychological activities", "What Does Ogi want to do", "Does Ogi still want to hurt twice", and so on, and so on. Even when I was reading, a person speaking in his heart and reading Crime and Punishment was a state.
The longest-reading novella, too much thinking, too slow travel
This is again the trap of Yasunari Kawabata, you evaluate, you are deceived. He is to let the reader evaluate, to be dissatisfied, and even to spit according to his own thoughts.
In "Beauty and Sorrow", Ogiko meets the writer Ohki when she is a teenager, becomes pregnant, and is abandoned. She later survived strongly and grew into a little famous painter. Ohki wrote out the story of Otoko, became famous in one fell swoop, and changed his life situation.
The story begins a few years later, inserting memories. Yoshiko, Ogiko's female disciple, wants to avenge her master and deliberately approaches Ogi. After being stopped by Ogi's wife, Fumiko, he turns to Ogi's son, Taiichiro. The husband and Keiko are ambiguous, the son and Qingzi have a private meeting, and Fumiko is in pain.
The novel ends with Taiichiro's bones hard to find, and Ohki is whipped by his conscience, but Keiko is almost killed. In the era of Otoko, men are the heavens, the masters of the world, doing whatever they want, even if they make a teenage girl pregnant, even if they write their dirty behavior into a novel, it is still not a major sin, and they can still live brightly. If it were not for Theoko who lived to the fornication, became a famous painter, and accepted a female disciple of the new era like Keiko, the nightmare of the Otoko would always be just a joke of the capital of the Ogi family, it seems that the writer Ogi experienced life, wrote down the life of the experience, became famous, it was as simple as that.
Otoko, Keiko and Fumiko, all three women have beautiful appearances, but they have all become victims of love, on the surface, Ohki is the culprit, but in essence, the patriarchal etiquette under the old Japanese system is the executioner who castrates women's happiness.
Scenes and architectural depictions are still the usual brushwork of Yasunari Kawabata, who likes to put the characters behind the scenes and bring out the characters from the scenery. If you understand his brushwork and look at a few lines of scene descriptions, you will know what kind of state the characters who appear next are, sad, bright, or unthinkable, then the scenery also follows human nature, the scenery mourns the character's sorrow, the pain of the character, and the master's "big" lies in this.
Looking at the translated works, I have to admire the translators, I think the translators are writers who are higher than the writers, they translate the words of foreign languages into Chinese through their own understanding, and those wonderful sentences are sometimes really the play of translators. It can be said that translators have made foreign writers famous in China.
We are about to begin to interpret Yasunari Kawabata's Beauty and Sorrow, a collection of another novella, Dandelion, which gives us an insight into the magic of Yasunari Kawabata's dialogues, which is helpful for those who write novels or study novels.