Literary Analysis: Mishima's Spring Snow

Written in 2017 

2. Bibliographic information:

Mishima, Yukio (1925-1970), and Michael Gallagher. Spring snow. London: Vintage, 2000. Print. Japanese Taisho Era. 

Born on January 14th, 1925 in Tokyo and after pursuing academically at Tokyo University, Kimitake Hiraoka took the pen name of Yukio Mishima and began his expedition toward authorship. Written by Yukio Mishima, the fiction novel Spring Snow initializes the Sea of Fertility tetralogy. As Michael Gallagher translates the words of Mishima, he also retains the essence of the Japanese serenity. Compiling its acknowledgement from a Japanese literary magazine, namely, Shincho, featured Spring Snow serially in mid 1960s. Originally published in book form in 1969, the renowned novel establishes the foundation for the masterpiece that the author dedicated his life to. The novel serves as a secondary source for its purpose of analyzing, approaching, and depicting an historical incident, era, and event. The author incorporates his opinion and sometimes provide criticism on the historical event of the Japanese sword. His works convey the transitioning movements in Japan, especially the Meiji to Taisho era which spans from 1868 to 1912, reaching from the 19th into the 20th century. From which deeply eradicates the principles of Japanese culture and tradition and instead replaces them with the formidable social and political power. Undeniably, numerous motives and influences impact the author’s stance in the interpretation of the historical event. Two significant reasons emerged: the author’s background and the transitioning of his society. Raised with the prestigious status of the Samurai, Mishima grew inapt to the contemporary political values. His unsatisfactory aptitude often seeps into the lines, leaving the reader a sense of bitter aftertaste. Secondly, the author’s perspective highlights the significance of a society and the effects of its alteration. From writing the tetralogy, he exhibits more than the feebleness of love and fickle-mindedness of men, he also intends to comment on the society for abandoning its primary values. As the critics summarize, the Japanese author leans toward “blood, death, and suicide, his interest in self-destructive personalities, and his rejection of the sterility of modern life” (1). However, despite its literary refinement, the novel won little public agreement and support in his abstract and extreme political perspectives. Mishima terminated his life after the completion of the tetralogy by the rites of seppuku. True to his words, on November 25, 1970, the world lost an author, a soldier, and one of the most important Japanese thinkers of the modern time.

3. Key quotation

“Once we are even marginally separated from what we can touch, the object is sanctified; it acquires the beauty of the unattainable, the quality of the miraculous.” (46). 

The novel revolves around the principle of love and the fragility of it. As quoted by the thoughtful Prince Pattanadid, this quote fully embraces the motives behind youthful love. Grace stem from the unperceived, unattained, and unrealistic miracles. Likewise, just as Kiyoaki adores Satoko, his ascending adoration channels from their distance, gap, and segregation. Once the violation of such boundaries had been achieved, then the violator have disturbed the sacredness of the intangible. Throughout the plot, Kiyoaki surmounts numerous obstacles that may come across the relationship with Satoko. However, Mishima narrates that the real force of attraction to take form in the value of the resistant. For instance, shortly after the grand announcement of the betrothal ceremony, Kiyoaki regains his passion and soberness about his affair, “the force of the imperial sanction threw him and Satoko wildly into each other’s arms” (272). Prince Pattanadid, in context of his own affair, states the quote for embracing his acknowledgement on the topic of attraction. Mishima, however, utilizes the stance of Prince Pattanadid to reflect or even foreshadow Kiyoaki’s personality and situation. While the other characters deem ignorant of love’s impact, Kiyoaki listens intently to the foreign friend’s beliefs. If the possibility of love had been great and easy to obtain, Kiyoaki would have never been seized by his desire. And if he had not been seized by the inconsistent desire for Satoko’s love, Kiyoaki would have never doomed himself into the abyss of the tragedy. Connecting one piece of evidence to another, this quote incorporates the essential plotline and induces its gradual proceeding. Prince Pattanadid’s statement overviews the entirety of love--- and why he claims it false. Evident in his speech, Mishima purposely delivers the message of illusions, and that men fall under the spell of love when they actually fall under the spell of the intangible. Honda, Kiyoaki’s companion, asks him this rhetorical question with the same topic, “if it were to become possible now, would it have any value to you?” (278). This quote, thus, explains the reason behind the tragedy and how it influences the population’s minds. 

“Despite its tenacity, two thousand years of its strong, bright, apollonian humanism had barely sufficed to hold off the assaults of darkness and barbarism” (56). 

Mishima’s intact and structurized novel emcompasses cultural and political aspects of the Japanese lifestyle. In context of the decline of the Meiji to Taisho historical era, Mishima exclaims his unsatisfactory yet incompetent attitude towards alterations in the society. He delivers his central idea through one of the most speculative and representative figures in the novel--- Honda. As a devoted student of law, he extracts the patterns and forces that drive the human society. Despite his insignificance in status and prestige, he makes crucial philosophical, religious, and political connections of the past and future. In context to the plot, this quote brings out why decadence influences the society. While not directly presented to the readers, readers could infer that the change ultimately stem from two reasons. Through Honda, Mishima advocates his perspective on the decaying traditions in response to westernization through utilizing first, the contrasting forces, and second, time. First, “strong, bright, apollonian humanism” contrasts with “assaults of darkness and barbarism”, thus, hints at the glorious Japanese imperial society succumb to the imminent and foreign westernization. Furthermore, Honda contributes his outlook to Kiyoaki, “the style of the Meiji Era is still dying” (95). Second, Mishima uses time as a component. Throughout the novel, Mishima argues that time induces changes, “Time is what decides” (96). Mishima gives this novel a distinct taste of political gist, in addition to the average romantic novels. In general, this quote specifies the effect of intrusions (the industrialization and wealth), and categorizes these intrusions as dark and grotesque to the state. Without this quote, the readers would not have the family history of the Akayuras and the Matsugaes, the readers would not have acknowledged the turbulence happened in the Taisho period. Honda suggests, most evidently through his thoughts, the inevitability of westernization. 

“All this was essential to his attaining true beauty--- this inner emptiness, this loss of all joy” (358). 

Praised by all onlookers, Kiyoaki’s beauty had always appeared undeniably apparent. The glimmering youth inherited the exquisite gift of the looks. Delicate, sensitive, and frivolous, Kiyoaki perfects the definition of elegance. In context with the book, the burden of perfection, however, resulted in his isolation. As the plotline revolves around the life of the newly arisen son of the aristocrat, it also intensely focus on the effect of his beauty. Crucial to Kiyoaki, his looks essentially induces his thought process, personality, and actions. The author focuses on the youth and the vitality of life by highlighting its beauty. Towards the end of the novel, after experiencing the reality and its subtle changes, the author still emphasizes on the perfection of the main character--- despite the fact that the readers now understand his imperfection. Everything, everyone, and every item, has a consequence or cause and effect. One example take form in Kiyoaki, as he suffers the virus of elegance, “His elegance was the thorn. He was aware that his aversion to coarseness, his delight in refinement, were futile” (15). As a dynamic character, he undergoes the hero’s journey and realizes that youth could not endure the harsh realities. And so he summarizes himself that “only the elegance that he been so conscious a part of him had withered. His heart had become desolate” (385). 

4. Title

Through analyzing the multiple components of the novel, I concluded that the novel emcompasses a wide range of interpretation. The following five interpretations stem from my own perspective and I hope the title fits in one of the five categories. 

Improper situation: 

Spring Snow stands as a symbolism for an event and such event take form as the characters’ participation in the wrong situation. As readers all perceive, snow belongs to the domain of winter. It is only fitting that the snow, supplying little warmth and comfort, fall in the most chilling month. However, vitality and prosperity belong to the season of spring, when all items are revived. Snow does not belong to spring, nor does spring host the arrival of snow. Combining the two unrelated terms makes an analogy that links with a character. The mismatching ideologies of spring snow signifies to me like the characters with their situation. Similar to the title, the main character does not find a purpose or a reason to fit into the society. For example, Kiyoaki finds himself cornered in the position of an aristocrat’s son. Destined to become one of the pawns of his father, Kiyoaki must oblige his wishes and commands. The Marquis utilizes his son as a dream-fulfiller, the one missing puzzle piece. By truly establishing the aristocratic foundation, carrying out the traditions, and acclaiming the new nobility, Kiyoaki had saved his family prestige. However, he himself does not picture his placement as complacent. His sensibility plays at a disadvantage in his personality, and from that stems all the problems. He finds himself disproportionate to the family name, often describing himself “a thorn, a small, poisonous thorn jabbed into the workmanlike hand of his family” (15). Another developed fact supports my claim: Kiyoaki’s isolation. The author mentions Kiyoaki’s beauty and status in order to portray his overwhelming desolation. What isolate him is not merely the obstacle of loneliness, but the obstacle of differences. His inappropriate arrival to an inappropriate situation doomed him to weave a tragedy. Supplying a religious outlook in the novel, Japanese author Mishima explores his ideas on the religion of Buddhism. Through the mouthpiece of Honda, the author establishes the initiation of reincarnation which will link the tetralogy together (in the order of Spring Snow, Runaway Horses, The Temple of Dawn, The Decay of the Angel). Perhaps the author wants to express the idea that, Kiyoaki should not be in this situation, but instead live in some other. Speaking his last words, Kiyoaki assuredly whispers to Honda that “I’ll see you again. Beneath the falls” (389). This quote suggests Kiyoaki does not belong to the current state, but somewhere else. His arrival to the society, then, deems unfitting and eccentric; just like the term, Spring Snow. 

Contrasts & Opposites

Spring Snow, in a sense, symbolises the opposites in societies. As mentioned earlier, the not corresponding terms in the title sets it apart. Snow does not relate with spring, nor does spring relate with snow. The utilization of figurative language in the title already showcase the author’s manipulation of literary techniques. However, the usage of contrasts and opposites in the title mainly suggests that author wants to emphasize the relationship between them. A series of opposites take place in the novel. Just by categorizing, I could select and regulate two categories. First, the characters and their relationships: “the monster” vs. Kiyoaki, Honda vs. Kiyoaki, the Marquis vs. Count Ayakura. Second, opposites exist in opaque terms such as death vs. reincarnation, youth vs. reality, maturity vs. immaturity, westernization vs. isolationism. These opposites intricately present the author’s themes which I will convey later. Despite the numerous others opposites constructed in the novel, the most significant and major contrast that consequently relate to the title would belong to youth vs. reality. Spring itself symbolises immaturity, initiation, beginning, youth, growth, and development. Transitioning from the bleak state of winter, spring bursts into a full bloom and welcome the new year. Reviving and vivid, spring gives nurtures the youth and exemplify the youth. Thus, the author emphasizes on the youth and their participation in the tragedy.  In context with the novel, Kiyoaki and Satoko encounters this form of fragile, rash, yet youthful love that exists amongst teenagers. Consequently, their love for each other undermine their ability to distinguish the best situations, the faults of each other, and eventually lead to their tragedy. However, in correspondence to the title, snow represents the reality of life. Its cold, harsh, and bitter sting clearly foreshadow the turnout of the plot. Furthermore, snow melts swiftly and that symbolises the universal pattern: when something is received quickly, that something will be lost quickly also. However beautiful something may be perceived, it ought to perish fast. Reflecting this theme in his novel, Mishima crafts the description that Kiyoaki, lead by the hands of death, is tragically beautiful, “Despite the contortions, however, it was beautiful. Intense suffering had imbued it with an extraordinary character” (374). Combining the two together, the author of Spring Snow clashes the youth and their bleak future. 

Revolution

Through the kaleidoscopic view of the author, reader could conclude that patterns exist in the society. Everything involves a pattern, the rise and fall of empires, the darkness follows brightness, and the mature brings up the immature. The seasons, going in a yearly cycle, encounters this pattern. In the novel, Spring Snow, the author emphasizes on the religious patterns of Buddhism. Likewise, the title Spring Snow infers to the cycle of seasons. Life and death, he conveys, regulate into the system of reincarnation. Obsessed with the topic of death, Mishima quotes through the voice of Honda, that “there is an abundance of death in our lives. Perhaps in their own way the dead make a great deal of life” (231). He fantasizes over the pursue of death, of spirits, and of birth. The concept of death, however, only paves the path for the further explanation of the cycle. As described by Honda, reincarnation reverses the way gentle creatures such as us, view death; it transcends the perspective and expresses through the viewpoint of the dead. It ties in with the title, that the cycle somehow reverses itself. Thus, the reversed name, Spring Snow. 

The Unexpected Turnout

Coincidences, tragedies, and conflicts constantly seize the human population and tells the most enchanting tales. In life and beyond, readers could relate to the uncertain and opaque plotline in Spring Snow. Author Mishima portrays this concept thoroughly by adding twists and turns, ups and downs that extend beyond the use of thematic techniques. He delicately crafts these incidents to fit the title, suggesting that turnouts may not go as planned. As snow usually falls in the winter, spring snow then poses as an outlier or an unexpected turnout. In connection with the novel, Kiyoaki did not expect his encountering his love of his life, Satoko; Satoko did not expect her engagement ceremony that the Marquis had planned; the Marquis did not expect Satoko to become pregnant, etc. All these factors add up together to amount to the tragedy, which all shares the blame. With such unexpected turnouts, the families entangle themselves with the chains of fate, and these chains finally kill the main character. Using the title as an allegory, spring snow defines as the unanticipated, sudden, and rash events that eventually dictates the destiny of the characters. 

5. Setting

Just like Honda had mentioned, men sometimes are ignorant of the transition of an era because of their own participation it in. The tragedy of Kiyoaki Matsugae and Satoko Ayakura begins in the first year of the Taisho era, unaware of the social unrest and change happening around him. In relation to the intrinsic historical era, Spring Snow dedicate to the first year of the new era. After the impact of westernization industrialization, Japanese cultures had slowly diminished due to its termination of isolationism. Evident in the first paragraph of the novel, both Kiyoaki and Honda understand limited information on the recent Russo-Japanese warfare. Thus, author Mishima presents an eye-opening clash between the old and the present. Likewise, Mishima provides the perfect setting of where the story takes place. Carefully, the author crafts this piece to be set in the capital of 20th century Japan, Tokyo represent the jewel of the island and “Marquis Matsugae’s residence occupied a large tract of land on the outskirts of Tokyo” (5). Instead of placing the story setting in Kyoto, the author further expands his argument of the neo-japanese culture. Kyoto, also known as the thousand-year capital, displays its link to the traditional power center; Mishima, then, exemplifies his claims of abandonment of traditional values by placing the story in Tokyo. Both their position and their occupation serve as a representation for their power and aristocratic rule. Another significance about the setting must credit to its simplicity, yet it does not lack any crucial information. Readers could picture the scenery of a perfect Japanese garden, seeping both serenity and peacefulness. 

6. Theme

Theme 1: Unexpected incidents dictate our lives 

Dictating our lives with its inextricably tangled threads, the topic of fate plays an essential role in the novel, Spring Snow. Changes happen all the time, the world changes constantly and imperceptibly despite one’s efforts, and these subtle alteration links one situation to another. Fortune’s fool, quoth Romeo, does play out in Kiyoaki and his surrounding character’s lives. As some may argue that sometimes one may be too ignorant to witness the cause and effect process, the novel clearly exhibits the contrary. Through Kiyoaki, readers can not identify his illness as a byproduct of cause and effect because--- there is no cause! Through the betrothal incident, readers can not suggest that such event is predictable because --- there is no cause! Through the Siam princes, readers can not explain the death of Ying Chan because again --- there is no cause! Such unexpected, unplanned, and unpredictable events can abruptly turn one’s life in the opposite direction, entirely distinct from what one may head toward. Prince Chan grouses the rhetorical question, seething at his ignorance for changes when he does not realize his inability to sense such infinitesimal hints because such hints simply does not exist, “Why wasn’t I able to see the subtle change that had occurred deep in the substance of the universe?” (253). One’s inability to entangle, or even detect their fates greatly projects in Spring Snow under Mishima’s construction. He wistfully utilizes the characters to attempt to alter the course of fate, as shown through the two families’ master, Count Ayakura and the Marquis Matsugae. Their proposal to make Satoko wear a wig for disguise supports their desperation for change, but change is not granted. So justifies Mishima’s belief, that “A man’s whole life alters course because of a moment’s hesitation. That instant is like a fold made down the middle of a sheet of paper. In it, the underside becomes utmost, and what was once visible is hidden forever” (80). 

Theme 2: Political transitions affect every aspect of the society

Eyes wide, Kiyoaki and Honda ponder about the alterations in their surroundings. While examining the Japanese environment, they could not help but confess their inability to distinguish the decadence or ascendance of their society. Honda acknowledges the effect of the political institutions, and he explains to Kiyoaki about his observations, “You and I, must be immersed in a style of living, but we’re goldfish swimming around in a bowl without noticing it” (90). Seeping into every part of our lives unconditionally, political transitions plays an important role in our society. Through Mishima’s hands, the readers are exposed to the ironic jab of characterization--- the Matsugaes. Take Kiyoaki’s lifestyle, a perfect embracement of aristocratic leisure and upper class dissipation. Both the Marquis’ shrewd opinion of raising Kiyoaki and compensating Kiyoaki shows the effect of westernization, for Kiyoaki’s flawed character can only be the blame of the aristocratic indulgence. Mishima despises this weakness induced by westernization, making it an ironic proposal. He also argues in the voice of Honda that sometimes people realizes the change far too late, “finally understanding it at a time when it was no longer relevant?” (91). Furthermore, the author exemplifies the mode of change through the vast amount of implications about westernization. From the housing modeling to meal preferences, Mishima dedicates numerous details to inform the readers of both subtle and immense changes. Pay special attention to this line of description: “three billiard tables covered with layers of Italian marble” (39). The Japanese society had long abandoned isolationism, thus bringing a termination of its own culture, as Mishima suggests. In consequence to westernization, political institutions displays through the change of conflicts. Honda distinctively analyzes the new era as a war of emotion, something now everyone participates in. As one of the many representatives, Kiyoaki finds himself in a multitude of emotions. In defying the traditions of Imperial supremacy, Kiyoaki participates in the descendance of customs and expectations. For example, Kiyoaki became stimulated in the pursuit of not pure love but instead the pursuit of impossibility, that can be regulated into the category of disobedience and bad influence. 

Theme 3: Everyone has their own definition of love

Capable of altering one’s perspectives and actions, emotions often sway one’s perception of love. Both portrayed through Prince Chan and Kiyoaki, the topic of love clearly seem complicated and opaque. Kiyoaki’s conceited and indulgent personality may projects as unacceptable for readers at first, however, Mishima utilizes this trait accordingly. His immature and unskilled determination in love eventually lead to his doom. The pursuit for Satoko’s untamed personality and the incessant rejection of her makes Kiyoaki inconstant. Mishima implies that Kiyoaki does not have a concept of love, much less a stable concept of love, “But even as he decided that what he felt was love, his contrary nature was asserting itself once more” (110). He simply asserts his own state of being into the concept of love, that he loves not Satoko’s being but something else, “a part of him was drawn irresistibly to the darkness of human passion” (210). Indulged by his perfect appearances, he distinguishes love as sensual pleasure and emotional restrain. When easily received, such pleasure and entertainment vanishes into thin air. Frustrated at his lack of obstacles, Kiyoaki foolishly thinks that his manifestation births from loss. Similar to Kiyoaki, Prince Chan, spectates the wonders of his love. Though only when he realizes his love does not belong to his sweetheart but to the feeling of being in love, does he confronts his ignorance.  Likewise, he states that “even when we’re with someone we love, we’re foolish enough to think of her body and soul as being separate” (173).

7. Character

Kiyoaki

Suffering the burden of perfection, Kiyoaki Matsugae serves as the main character in Yukio Mishima’s Spring Snow. An immature child, a conceited student, a spoiled aristocrat, an inconstant lover, a disobedient son, all of these portrayals clearly describe Kiyoaki but Mishima suggests that there is something more. The storyline follows the path of Kiyoaki as his journey to conquer love takes a fatal turn in the road, consequently ending his life. As a dynamic figure, however, he changes as the plotline progresses. Towards the end of the novel, tolerating the utmost isolation, Kiyoaki approaches a student named “the monster”. Unprecedentedly, “his coldly glittering heart had begun to melt with pity and tenderness, like ice under the rays of the setting sun” (349). The worlds of beauty and ugliness collides, although both knows there exists little distinction between them. It signifies Kiyoaki’s acceptance of his status, his situation, and his emotions. That his world of elegance does not belong to nobility, defines to just as primitive any other worlds, he just choose to appear ostensibly and hides it behind the mask of delicacy. Kiyoaki appears different from most people for the reason that he represents a symbol, the symbol of weakness. Having no room but for his own emotional turbulence, he could not pursue the life of traditional Imperial way. Secondly, however resilient, Kiyoaki lacks the ability to control his inconsistent surges. Thirdly, he represents the new aristocratic change which the author despises. Lastly, he represents his weakness because of his inability of controlling the scheme. Despite his transitioning into adulthood, “he was still lacking in the power to act independently. He trembled with the bereft loneliness and bitter frustration” (314). Immaturity, indecisively, and inconsistency all piles up as the burden of youth. In conclusion, Mishima presents the audience with an incompetent character. Not only does this character attribute to the third person omniscient narrative more than any other characters, he also symbolises for a collection of topics. Mishima tries to exhibit Kiyoaki’s perfection only to reveal his overwhelming imperfection; he reveals his own dissatisfaction for the society through this thoroughly flawed portrayal. As a product of the era, Kiyoaki himself mimics the era’s traits--- full of friction and dynamics. And, never truly attaining happiness, Kiyoaki suffers the decline and decay in his melancholy of an era’s passing, shown through his isolation, shy nature, and entangled emotions. Thinking in retrospect, Kiyoaki acknowledges his weakness and incompetence, however, he still endures in the warfare of emotions. 

Satoko: 

The impermanence of beauty and youth often links with cherry blossoms, which petals begin to fall after blooming. Mishima designed Satoko for the purpose of fulfilling the love story of Kiyoaki, but how he frames Satoko becomes another matter. Intelligent and graceful, Satoko’s figure appears on the one extreme of the feminine spectrum. However, the narrator also seem to include the details of her obedience and her static being. She often conveys herself as a conservative, quiet, and hidden figure despite her beauty, and that she had never done anything impulsive in her life. After finding out her pregnancy, Satoko slowly succumbs into a stage of dependency and loses all her pride. In a particular scene with Tadeshina, Satoko was presented as a girl drenched in fear. This character rejects the outside world and wraps herself inside the blanket of Tadeshina’s assurance, suggesting that her elegance serves as a mere disguise for her weakness. Implementing their insignificance in the large picture, her weakness mirrors Kiyoaki’s powerless stature. Without this character, the love story would not have taken place. Satoko serves as Kiyoaki’s love interest and a major connection for the house of Ayakura and Matsugae. Satoko sets up a feminine portrayal and their participation in the Japanese society. Her life is constantly being dictated over, as Mishima personifies her as a pawn for the family name. The lack of power and the lack of personal bodily possession fully presents Mishima’s claim --- the women’s inferiority. 

Honda: 

Yukio Mishima builds his tetralogy with the basis of Shigekuni Honda as a witness to the what is believed to be the various reincarnations of Kiyoaki Matsugae. Acquainted by Kiyoaki, Honda was a fellow student of Peers Japanese academy. The force of attraction clearly had its effect, because Kiyoaki and Honda pose as pure opposites from each other. The reserved, intelligent, plain, and logical Honda sets him apart from Kiyoaki’s irrational, sensitive, and emotional being.

This character experiences something more, something that does not float in the surface. His ocean of knowledge supplies him with a full incursion of western thought into eastern culture. Mishima demonstrates through describing his household as externally Japanese yet internally westernized while the Matsugae’s household depicts the contrary. For example, Honda’s interest in law, law of Manu, and logical thinking fully render his contrast with the main character. The career of a lawyer follows the advocation of equality in objective and knowledge that transcend conventions or social status. This character traits explains his unorthodox actions in helping Kiyoaki in an unprecedented way, believing that Kiyoaki, in fact, has an equal chance in his objective also. Secondly, the fact that Honda’s father serves as a judge who embraces Western philosophy while his mother participates in the modern Japanese women’s organization contradicts his traditional Japanese values. Whereas although the Matsugae’s family bonds to aristocratic novelty stems from Westernized system, Kiyoaki and the Marquis still adheres to feudal Japanese customs. Honda also supports Kiyoaki emotionally and physically throughout the plot, whose contributions amount more than anyone else. While Iinuma scorns Kiyoaki for his cowardice, Honda praises him for accepting his emotional place in the society. In the depth of Kiyoaki’s despair, Honda stands out to transport Kiyoaki back to Tokyo. As readers can account, Honda has a will, and he represents the only character who has full control of his life. The Marquis is restrained by his social status, Kiyoaki is restrained by his emotional imbalances, Satoko is restrained by her family’s urging, Iinuma is restrained by his servitude… However, Honda does not bond to any restraints. In one particular scene with the Princes, Honda discuss his speculations on religion. “I don’t see how we can take any number of separate and distinct existences, each with its own self-awareness, and bracket them together as one” (230). He simply objects the belief that anything has a permanent, singular, ideal host. Honda, therefore, initially denies Buddhism and its belief of reincarnation. Mishima carefully crafts the character of Honda for adding the religious component into Spring Snow. 

Marquis Matsugae:

Parenting takes a big toll on the offspring. By constructing numerous aspects of Kiyoaki, the Marquis significantly controls the life of his son. As a newly risen aristocrat, he proposes the idea of an infusion of both western influence and traditional Japanese values by sending his son to the Ayakura’s for early education. The Marquis himself does not appear as a literate, intelligent, and elegant man. Coarse and vulgar, the man of the house did not devote his time to books. The library, the essential soul and prized section of a household, was described as ancient and aged. Placidly, the man lives in a life of luxury by abandoning the principles of Japanese culture. He does not discipline his mind, his body, nor his son. A vain man, the Marquis cares more about his name and position than his son’s well being. In the work, the Marquis serves as a background, an explanation of Kiyoaki’s wretched personality. Such negative influence eventually lead to the indulgent, immature, and weak Kiyoaki as our main character. In one particular scene with Kiyoaki, he had recently received the letter from Tadeshina about the Satoko’s pregnancy. Kiyoaki and the Marquis’s relationship does not relate to any father-and-son relationship because of the lack of communication, that “despite the Marquis’s threatening pose, he find himself caught up in such a situation was one of desperate confusion. Handling such things had never been his strong point” (285). Mishima, therefore, gives a valid reason of Kiyoaki’s upbringing. 

Iinuma: 

The character of Iinuma served three motives in Mishima’s Spring Snow: First, the portrayal of the author’s opinion. Second, the demonstration of master and servant relationship. And third, the link for the tetralogy. Iinuma himself relate to the author the most than all other characters in Spring Snow. As the impersonation of the author, Iinuma believes in the decadence of the Japanese society. He often questions Japanese future, filled with descending and emotionally impoverished men. Disappointed in Kiyoaki, Iinuma eventually gives up on convincing him of the grand imperial values of the society. The author, uses the voice of Iinuma to tell the readers of his own political stature. Mishima undermines the loss of masculinity in men, their codes of chivalry, and their obedience to the imperial emperor. In a particular scene, Iinuma kneels in front of the Matsugae’s shrine for guidance. He asks the spirits, “Why is our era one of decadence?” (72). Secondly, Iinuma is restrained in a relationship of servanthood, unable to pronounce his opinions to the world. Serving Kiyoaki stands as his main purpose, nothing more. Even though he feels the urgency of rescuing the decaying era, his power overwhelms his will. Kiyoaki begins to despise him after witnessing the burning fanaticism in Iinuma; Iinuma, thus, has broken the trust between his master. The great inequality again suggests that the power belongs to the aristocrats, not their servants. Thirdly, the second tetralogy includes the reincarnation of Kiyoaki Matsugae as the son of Iinuma and Miné. He serves as a link for the reincarnation transition. 

Tadeshina:

As a secondary character, Tadeshina shares many traits that made her stand out in the most unconventional form. Despite her age and experience, she possesses the spirit that defies the servant and master relationship. From her consultant to her friend, Tadeshina occupies many positions. Frail, ancient, and disguised, Tadeshina serves as Satoko’s maid and carries out her errands. Her connection with Satoko, one of the main characters, can be seen as nearly inseparable. Her confident and guileful personality remains constant throughout the novel. The distant yet obvious link with the Geishas marks Tadeshina with an inevitable coat of slyness. With confidence painted on her face, Tadeshina often contemplates as if she has an indispensable role to the world. Her self-evaluation exceeds her standards and she takes pride in her multitude of experience. Tadeshina’s disobedience displays through her relationship with Count Ayakura and Satoko. In the plot, Tadeshina paves the road for the tragedy by tolerating and allowing the affair. As revealed to the readers later on in the story, Tadeshina’s efforts all stem from the single cause of Count Ayakura’s command. Tadeshina, essentially, had gone through all the years to fulfill one devious wish of her master; then, I believe, her real intention had given her master an ironic jab. Defiant to her role, Tadeshina uses her experience to reverse the master and servant relationship. In Spring Snow, Tadeshina exemplifies the exact contrast of age and experience with Kiyoaki and Satoko. When Satoko had become pregnant, she had no concerns of family name or prestige, instead, she “was filled with delight. Now Satoko was in her hands!” (265). Despised by almost every character of the House of Ayakura and Matsugae except for Satoko, Tadeshina may sometimes be portrayed as an grotesque and powerful antagonist. However, as Mishima describes Tadeshina, he mentions her frail figure and fragility as if hinting at another contrast. 

Chao P. : As another secondary character, Chao P. or Prince Chao connects with two of the main characters in the story. A Siam prince who came to study abroad in Japan, this character often appears lovesick and homesick, but otherwise a bright character. His discourse on love and religion often intrigues Honda and Kiyoaki, “I’ve always wanted to know secret that enables love to evade the bonds of time and space as if by magic” (173). His arrival and his departure take place during the high points of the novel, before the exposition. 

8. Conflict

Person vs. self :

Throughout Spring Snow, Mishima emphasizes on Kiyoaki’s troubled and inconstant love interest for Satoko. Presented as more of an inner desperation, Kiyoaki fights incessantly with his emotions. Due to his features and status, Kiyoaki suffers from intense isolation from his peers. His peers, however, does not share the blame for his own desolation. His sudden bursts of outrage, certainty, and adoration take place numerously in the novel. Indulged severely, he has no control over his emotions and such personal flaw lead to his downfall. During one of the many encounters between him and Satoko, he often resides to one of the two extremes of love: momentous madness or indifferent frigidity. Despite his extreme personality, he often wishes to overcome his emotional boundaries. Secondly, Kiyoaki lacks the power of making decisions, and when he does, he often makes the incorrect decisions. Consequently, when faced with the ultimate confrontation, “he had no means whatever of preventing this. He trembled with the bereft loneliness and bitter frustration of a child” (314). Thirdly, Kiyoaki troubles over the love for Satoko because of lack of obstacles in his way. As much as Kiyoaki wants to admit to the adoration for Satoko, he entangles his mind with doubts and uncertainties that eventually lead to denial. He fights with his consciousness constantly over his asserted view and the reality. Realizing the truth destroys our character internally, “his pride was hurt when he realized that this was all he had to rely on as the fierce pain and agony of love spun their coil” (110). The lack of obstacles was indeed not a valid explanation, but Kiyoaki holds his opinion higher than any conventions. In an unexamined way, Kiyoaki fights the war of emotion against himself. However cunning Kiyoaki depicts himself, he could not escape his own trap. 

Person vs. person: 

The love story of Kiyoaki and Satoko primarily features the conflict between the two, mainly depicted by the protagonist. Kiyoaki’s concerns about Satoko’s character, her pride, and her elegance serve as the main reasons for the distaste conflict between the two. In the beginning, Kiyoaki approaches Satoko in a sense of curiosity for his friend since birth. As the two became more intimate, Kiyoaki begins to sense her pride and therefore despises her. Shortly after the closeness and openness of the two, Kiyoaki “supposedly” falls under the spell of Satoko and starts to hate her pride and elegance when indeed they were the very items that drew him to her. “His behavior was simply the result of his imperfect grasp of the art of elegance, that he envied Satoko her serene freedom, wantonness even, and was made to feel inferior” (110). Feeling inferior to Satoko, he criticizes Satoko in every way possible but only to attract to her presence. They clash and come together like a pair of magnets, repelling and attracting all the same. At times Kiyoaki does not urge his sensual beckoning, and he preaches Satoko in every means. And at times Kiyoaki is infuriated due to his lack of emotional control. 

Person vs. society: 

Societal pressure often pushes one into a certain direction. In Spring Snow, Kiyoaki conflicts with societal schemes of imperial prowess. Despite receiving the early education from House Ayakura, Kiyoaki still struggle to formulate his ideals around the Imperial emperor. Mishima purposely structured Kiyoaki to perceive as a symbol of the rebellious, incompetence, and weakness. Kiyoaki had always retained the position of a son of the aristocrat, pursuing the life of privilege and trailing after the effects of the declining Meiji Era. Dynamic, Kiyoaki wishes to change items and situations instead of staying static. He wishes to not only submit to the presumed role of the Marquis but to exhibit his individual significance. However, until the imperial sanction, Kiyoaki received barely any societal influence or interaction. When he saw the chance, he subconsciously follow the path of disobedience. Therefore, under the circumstances, Kiyoaki commits fatal sins. In this quote, Mishima utilizes the theme of societal pressure to explain the relationship in Kiyoaki’s perspective, “but nevertheless he felt that while the force of the imperial sanction had served to throw him and Satoko wildly into each other’s arms” (272). With the given characteristics, Kiyoaki was prone to subject to mistakes that will eventually lead to conflicts. 

Person vs. nature 

Towards the epilogue of the novel, the main character travels in snow in order to reach his love. The once placid and elegant snow, however, turns on the Kiyoaki and aggravates his health condition. Given that Satoko had become a devout abbess, and lives under the sanctuary away from worldly conflicts. Nonetheless, Kiyoaki’s incessant longing for Satoko prompts him to pursue the youthful love. Bewitched by his scorching urge, Kiyoaki climbs the stairs of the temple in the chilling snow. He trembles and staggers, but he persists at the gate of the temple. The nature of snow used in Mishima’s work defines that however beautiful and gorgeous something may be, it might also have the capability to destroy. 

9. Point of View

Third person omniscient describes the story in a singular, unbiased, and throughout way. Narrating in a wide range of aspects, it describes the constant emotional movements, dynamic thoughts, and characteristics of participants in the novel. This all-seeing, all-knowing, and all-feeling narrator explores the deepest secrets and connections between one relationship and another, assisting the readers into an in-depth acknowledgment of each and every character. By knowing the characters, the reader could connect the motives of each character’s decisions. Without the interference of bias, readers could elaborate their own thought-process to the plotline and not swayed by the perspectives of, for example, Kiyoaki; by using third person omniscient, the reader examines the personal flaws and how these flaws contribute to the eventual downfall. In the case of Spring Snow, one of its major themes take form as the effects of westernization, which needs a wide range of situations to display its effects. Consequently, the author must present a perspective that overviews each situation, how such situation affect their thought process, their daily procedures, and their actions. For instance, take Tadeshina, whose secondary character concern was expressed through the technique of third person omniscient: “Tadeshina was deeply concerned that Satoko had become so subdued… ” (151). Without this form of narrative, the central idea could not project its truest essence to the readers. Take first person, its simplistic and straightforward technique of telling instead of showing gives away the surface layer of understanding; without incorporating the society’s variations, first person narrative would ignore the distinction amongst individuals and focus on intrapersonal regards. Thus, point of view serves as an essential presence in the novel. 

10. Beginnings and Endings

The author chooses to start the novel by stating about the war, that “when conversation at school turned to the Russo-Japanese War, Kiyoaki Matsugae asked his closest friend, Shigekuni Honda, how much he could remember about it” (3). This conveys the point that despite their current situation, they have little connections to the past and little assurance of the incoming age of the Japanese Taisho era. Despite having two members of the Matsugae family killed, Kiyoaki still has vague memories of the past. “Their classmates who talked so knowingly about the war were merely embellishing hazy memories” (3). Mishima strives to project the new generation’s unfamiliarity to the current state affairs. Secondly, the theme of death was well-presented in the very first scene. As warfare brings melancholy, the author decides to paint the opening scene with the grim appearance of death and desperation. He describes the photograph that impresses Kiyoaki the most, and mentions the date, giving the readers a rough time frame of the background of the story (June 26, 1904, the thirty-seventh year of the Meiji era). Paying special attention to the vocabulary choice, the author paints the scenery with diction with “tragic grandeur”, “desolate”, “faint”, and that “an indescribable sense of grief” came upon the main character. Foreshadowing the bleak resolution from the very beginning, Mishima sets up the mood of the entire novel. The relation between age and sorrow brings out the author’s perspective on emotions, that would not change in the caressing of time. “Both its age and its sepia ink tinged with an atmosphere of infinite poignance” (5). It guides the central idea of obliteration of cultural and historical background, that the Japanese time has been “relegated to a vanished era. Their tears, however, seemed to have dried up long ago” (165). Purposefully introducing the scheme of death and passiveness in an introduction, Mishima achieved the perfect usage of foreshadowing. 

Ending

The train back to Tokyo hosts the same two people who initiated the novel in the very beginning. However, the theme of death severely plagues the environment. Honda accompanies Kiyoaki as he lies gravely ill, being assisted back to Tokyo without fulfilling his purpose of the trip. The two spoke little due to Kiyoaki’s faltering health, or perhaps because of their thorough acknowledgement of each other that needs no further explanation. While the readers could identify that the reason behind his sickness involves lovesickness, however, author Mishima rather jumped to Kiyoaki’s death without specific procedure. For example, Shakespeare’s Romeo and Juliet describes the chain of cause and effect, eventually leading to their doom. In contrast, the love story of Kiyoaki and Satoko emphasizes on the sudden outcomes that does not associate with their decisions. The ending also ties in with the theme of reincarnation, in which connects the tetralogy together. Essentially hinting at the sequel of Spring Snow and pursuing the belief of reincarnation, Honda illustrates the scenery in Kiyoaki’s dream, that it “was the most vivid of all the images must have been the falls, tumbling down from the crest of the hill in its nine stages” (389). Mishima directly hints at this ending from the very start, revealing some of his theme of death and departure. Kiyoaki had personally despised the accumulation of age, and he wonders about his early death, foreshadowing his appropriate death, “Would he be able to die young--- and if possible free of all pain? A graceful death. A death marked by elegance” (117). As mentioned before in his daydreaming, as he glances upon the aged photographs of his uncles, who participated ambitiously in winning the pride for their country. In contrast, Kiyoaki dies gracefully, as morphed by the author Mishima, fittingly into his character. Who is Kiyoaki? Isn’t he the son of a newly risen aristocrat whose name was won by not traditional endurance but by the accumulation of wealth set forth by westernization? And so he dies without the pride and prestige his father had longed, but of a pleasant, elegant, and graceful death he himself envisioned. In correspondence to the overall plotline, Mishima leaves the fate of Satoko, the Matsugaes, the Ayakuras, and Honda unchecked, covering the characters in the mist, unable to distinguish themselves. Warping up the entire novel, Mishima concludes the life of the young aristocrat fatefully. 

11. Irony

Verbal Irony

In Spring Snow, Mishima utilizes verbal irony through a previous incident. Verbal irony generally sets up oppositions in situations, meanings, and analogies. Kiyoaki had once informed Satoko to eradicate the letter by throwing it in the fire. Consequently, as a playful note, Satoko concluded the sentence of her letter to Kiyoaki with the same remark: “please be kind enough not to forget to throw this letter into the fire” (109). The author utilizes verbal irony to inform the readers of Satoko’s gleeful mood and childish tone. The author does not intend the readers to receive Satoko’s message straightforwardly, but to pronounce the fact that Satoko mocks Kiyoaki in a most harmless way. This type of irony gives way of characterization, on Satoko and Kiyoaki’s part. 

Dramatic Irony

Utilized commonly in novels and plots, dramatic irony help play out reactions and responses from characters. Because dramatic irony exemplifies through the particular perspectives of characters, the audience spectates more than some particular characters. By knowing more, the author engage with the audience with thoughts about the plot. For example, “Satoko is a tenderhearted girl. I did think the pictures were quite emotional, but she was the only one sufficiently moved to cry” (137). This sentence give insight to the public’s eye, who does not know any background information of why Satoko had cried. By inserting irony in this situation, Mishima had appropriately subjected the readers for a more intimate acknowledgement. Secondly, Kiyoaki’s family gathers around the topic of Satoko’s pregnancy toward the climax of the novel. The house of Matsugae does not know if the pregnancy had any relation with Kiyoaki, however, the audience anticipates for the response or reaction of the family. The audience then spectates the very aspect of dramatic irony, or how characters deal with the received information. The author adds characterization of Kiyoaki’s weakness and the assertiveness of the Marquis from the effect of dramatic irony. 

12. Literary Devices and Techniques : Chapter 37: starting on page 258, ending on page 271 

Diction: Diction mainly focuses on its accuracy and appropriateness in a work. By concisely and precisely presenting the meaning, the author achieves the usage of diction. On the contrary, the wrong choice of words can easily divert listeners or readers which results in misinterpretation of the message intended to be conveyed. “he was scandalized that a noble family of such exalted rank could take pleasure in so plebeian a game as Mahjong” (259). Mishima describes the usage of Mahjong as “plebeian” after setting up the scheme of the Ayakura family as “noble”. Mishima’s usage of noble and plebeian sets up a contrast, or a diction, to aid him in getting his message across. Readers, now realizing that the Marquis despises the art of Mahjong, get a further expansion of the Marquis’s perspective on traditional billiards. 

Parallel structure: Mishima enhances his overall flow and assertiveness by adding parallel structure in his work. Parallel structure emphasizes on a particular idea or item because it draws attention to the readers. As sometimes propaganda utilizes the power of repetition, parallel structure is used to convince the reader of the content’s importance. “compose poems worthy of a princess, write in a hand suitable for a princess, arrange flowers as befitted a princess” (259). Her elegance, praised under Mishima’s words, deems worthy of every aspect of a princess. Mishima largely embraces the perfection of Satoko, to further embrace her perfection. 

Red Herring: Encountered largely in mystery novels, red herring is used to distract the reader from the main conflict/situation/event. From inserting a red herring, the author goes off the main subject and the readers follows the gist intendedly. In one particular intense scene, Mishima applies red herring to switch from one topic to another. “ “I wonder how Marquis Matsugae’s young son is?” the old geisha remarked offhandedly as she shuffled the mahjong tiles. 

Starting with To: One of the sentence patterns starts with “to” and followed with an infinitive. Rather than making the readers fall asleep under the repetitive sentence structure, the author uses various formats of sentence pattern to expand his argument and to enhance his writing. “To conceal her feelings was to risk betrayal by her behavior, and to dissemble in her behavior was to risk revealing her feelings” (261). 

Euphemism: Euphemism has an intended meaning behind its phrase, and such phrase usually represent a description of a certain situation. Euphemism provides an insight of author’s basic language usage. In this example, Tadeshina does not find herself at a fork in the road, the author describes her situation as one of troubled decision. “Tadeshina had found herself at a fork in the road” (262). 

Simile: Utilizing the word as or like, indicate simile is applied to the sentence. Simile links two subjects or events in the style the author thinks that connects the two. Generally, the author explains why he or she thinks the two resemble each other. “She was able to help along this love affair and be the lover’s ally, just as if she were conducting an experiment in chemistry…” (262).

Analogy: Analogy links two items that seems unrelated by mere topics, but they indeed share traits and characteristics. Analogy is widely used in works for clarification of one abstract subject. Abstract subject generally represent something detached from physical items, for example, love or despair. While describing Satoko and Kiyoaki’s scorching love, Mishima uses analogy to clarify Tadeshina’s reaction, “the way their eyes flashes when they met, the way they throbbed as they drew close--- this was a fire to warm Tadeshina's frozen heart” (263). Another example of analogy, alongside with a contrast, describes also the love between Kiyoaki and Satoko, that “their faces began to shine as brightly as glossy heads of barley in a June field” (263). Analogies enhance the performance of wordplay, thus providing literary satisfaction. 

Colons: Categorized amongst the sentence patterns, colons serve as an attention-grabber. Generally, the author sets up a stage and insert colons for the effect of highlight. Mishima gives insight of Tadeshina’s thoughts in this usage of colons: “And then, the moment it occurred, something had dawned on her: this was just what she had been waiting for” (265). 

Repetition: By restating the central idea, the author intend to deliver a message, an opinion, or meaning to the readers. Strategically, the author uses repetition to convince the reader. “But something that flamed like this was not evil; something that was transformed into poetry was not evil” (264).