シナジーのメタファー４

2 Nothingness and creation

　I interpret the reading brain of “Snow Country” with “nothingness and creation”, because a researcher Mizuho Takada defined his nothingness as follows.
　His nothingness is the feeling that can be seen as the origin of Kawabata who grew up as an orphan, in a wider, bigger and more free reality than all existence. The nothingness stemming from his little-known father and mother can lead to being bigger than a blue sky, and Kawabata’s literature came into the world with a fusion of love and death. In particular when nothingness goes with love, the implication of sublation, that is, an affection appears and with love comes death, the combination makes a grand leap forward to the sky, or it lies buried in the ground. Two conflicting concepts reply to each other by sublation, while they develop as a high level unit.
　Moreover Takada explains the creation of Kawabata. Kawabata plays with animal life and biology when writing his novels and defines an ideal form and grows it as artificial and deformed. For example in Snow Country, Shimamura is an introspective, muttering and emotional being, Komako is a woman with memorable fingers, and Yoko is a woman with a fire in her eye. These are the creations of Kawabata.
　Actually, his own background is lonely and the novels of Kawabata including Snow Country reflect a grateful heart. Shimamura reciprocates with Komako in Snow Country. For example, Komako thanks the old lady for her care of the child, but scolds her a little. Komako receives thanks as a servant for the small acts of kindness from the old lady, while she considers her own situation because nobody sets up a clean bed for her.

花村嘉英（2019）「川端康成の「雪国」から見えてくるシナジーのメタファーとは−『無と創造』から『目的達成型の認知発達』へ」より　translated by Yoshihisa Hanamura