Now that Otoko had heard about the night at Enoshima, that old love flared up ominously within her. Yet in those flames she could see a single white … - Yasunari Kawabata

Now, even more than the evening before, he could think of no one with whom to compare her. She had become absolute, beyond comparison. She had become decision and fate.

Dr. Yashiro Yukio, internationally known as a scholar of Botticelli, a man of great learning in the art of the past and the present, of the East and the West, has summed up one of the special characteristics of Japanese art in a single poetic sentence: "The time of the snows, of the moon, of the blossoms — then more than ever we think of our comrades." When we see the beauty of the snow, when we see the beauty of the full moon, when we see the beauty of the cherries in bloom, when in short we brush against and are awakened by the beauty of the four seasons, it is then that we think most of those close to us, and want them to share the pleasure. The excitement of beauty calls forth strong fellow feelings, yearnings for companionship, and the word "comrade" can be taken to mean "human being". The snow, the moon, the blossoms, words expressive of the seasons as they move one into another, include in the Japanese tradition the beauty of mountains and rivers and grasses and trees, of all the myriad manifestations of nature, of human feelings as well.

Eguchi, now sixty-seven, had lost many friends and relations, but the memory of the girl was still young. Reduced now to three details, the baby’s white cap and the cleanness of the secret place and the blood on the breast, it was still clear and fresh.