After we have some inspiration, we can consider writing it into our experience, so that we can update and iterate our ideas at any time. So how do you write it? The following is my reading experience of Snow Country for your reference, hoping to help friends in need.

Snow country 1 Reading experience The Milky Way seems to have collapsed and poured into the island village.

Kawabata Yasunari's personal expression hides disillusionment and lost sadness with superficial beauty, which is light and long. Mourning for things is the aesthetic criterion of Japanese traditional literature, and Kawabata Yasunari's skillful combination of words makes his emotional expression accurate, pure and profound, but it has nothing to do with despair.

Snow country, a country in the snow, white plunder is colorful, and cold buries warmth. Leaves and foals, like ideals and reality, one is out of touch with the world and the other is wandering in the world of mortals.

Foal is secular, looking up at the sky at the bottom, stubbornly trying to change her life in her own way. In Shimamura's eyes, Komako's diligence and efforts are all in vain, and the dignity she yearns for will also become a bubble in the lash of life.

Middle-aged men with well-off families, their habits and experience have gradually smoothed their edge. The so-called experience cannot but stifle their hopes and pursuits.

For Shimamura, Komako's love is an ornament in an empty life and an unconscious look down. Pity is not necessarily pity, but condescending indifference.

Even in Komako's view, sending Shimamura away is far more meaningful than seeing her fiance for the last time, and it still can't change her travel-stained attitude.

Leaves are the dawn of the long night, the ethereal song in silence, and the fragrance of the vast snow country. Inadvertently broke in and stirred up a pool of spring water.

"The matrix of the mirror is a flowing dusk scene, that is to say, the image of the mirror and the scene at the bottom of the mirror are the same, just like the overprint in the movie, constantly changing. There is no connection between the characters and the background. The figure is a transparent phantom with a hazy sunset in the background. The combination of the two forms a symbolic world unlike the human world. Especially on the girl's face, there was a flash of cold mountain, and the soul of Meide Island Village was shaking. "

This is written by Yasunari Kawabata.

I can't imagine the transparent phantom in the wild scene at sunset, but I can really feel the pleasure of beauty.

Leaves are the ideal of Shimamura. In my opinion, the frozen heart of Shimamura finally began to loosen, perhaps not only because of the beauty of the leaves, but because of the persistence of Komako, which tightened the string of Shimamura.

Those things that we have neglected, because of stubbornness, are changing our attitude towards life more or less. Even if it is slow, even if it is ignored, it will send a terrible blow at an unpredictable moment.

Ye finally died in an accident, heavy snow and bright fire. In Kawabata Yasunari's works, Shimamura doesn't have much sadness. When people reach middle age, the burden is heavy, and they may not have much hope at first, so they will not despair.

No matter how small the hope is, it is also a hope. The fire took away the leaves and melted the frozen snow country in the island village into a gap. Those fresh, positive and energetic things may sprout from now on.

In Xueguodao Village, the pony is air and the leaves are sunshine. I trudged again and again, just for that chance of life.

Growth is always full of setbacks and hardships, ridicule and indifference, just like a monotonous snow country. Stick to it, the goal will not be far away, even if it is expensive, it will never live up to meeting all the way and stick to the beauty of the past.

I am probably destined to be an optimist like my name. In this summer, I read the sad snow country, but I saw hope.

Like a flame in the snow country.

I am a teenager, in the prime of life, and I hope that the fire of salary will make me start a prairie fire.

Experience from reading Snow Country 2 If a person's life is a glimpse of twilight, which does not belong to his silent touch, how can he really hold it and feel the surge and temperature? It seems that twilight is inevitable silence and confusion after all, and it has become a wisp of smoke that disappears in the years, dispersed in an infinite illusory world, and finally turned into a silent world itself.

Reading Snow Country, I feel the infinite blend of silent snow and human emotions, just like stepping on the ethereal air in the early morning of the first snow to visit myself on the other side of the soul. "Snow Country" begins with the train bound for Snow Country, and the sunset scenery passing by the window reflects the girl's eyes reflected on the glass, which is confusing and unreal. Shimamura, a researcher in dance art, went to the snowy northern mountain village three times before and after, and fell in love with the local geisha pony and the girl leaves who met by chance. The rustling snow covered all the love and futility. At the end of the story, a fire in the clear reflection of gravel light and snow in the Milky Way ended the beautiful life of the leaves.

Such a sad story jumps again and again in the quiet and clean snow in the north, and the dark blue sky is close to the faint sunset glow of the sleeping mountain. The white cedar forest sobbed alone, and the lonely and cold moonlight overflowed on the snow-white face. The white flowers whispering in the wind seem to be floating in the clouds in the valley, and there is not a bird. Yuan Ye at the foot of the mountain is also psychedelic in infinity, like silence extending from the other side of the sky. Life is like a still scene, and a still scene is like life, floating in the illusory eternal silence. It's like standing behind life and in front of time.

In the snow country, long and almost eternal stillness is illusory. No matter from the beginning or the end, although sadness and coldness have been lingering in the atmosphere of the story, they have not given people a kind of extreme despair or pain. Just like the mirror where the story keeps flashing, they flash by, leaving no trace, neither dead nor alive, walking back in consciousness, holding their thoughts and feeling more and more unspeakable sadness.

The reading experience of Snow Country 3 Some books leave this atmosphere, which makes people return again and again and linger.

Yasunari Kawabata is a member of Japanese realistic literature, and his literary works have certain characteristics. His work "Snow Country" is a book about ordinary things that happened to ordinary Japanese during a trip. Through such stories, the subtle relationship between people and the complex inner emotional world are reflected.

The collection of Snow Country, Thousand Feathers Crane and Ancient Capital is the most simple and shallow in terms of literary achievements, like Mozart's music with the four monsoon objects in Kyoto as the background; The weaving of Thousand Feathers Crane is intimate and subtle, almost without trace, and it winds into the deep world of the soul with transcendental narrative skills; In contrast, The Snow Country is quite different from the two works. Through such a strong and sharp-edged fiction, an irresistible but hopeless spiritual image is displayed.

From the moment the train passes through the tunnel, we can see two beautiful scenery everywhere: two women in Shimamura's eyes, a foal born in vain and seriously, and the sad and bitter death of leaves, which constitute the color contrast between Mingli and Leng Yan, the convergence of rigidity and softness, the gradual realization and epiphany, the reality and nothingness, the movement and stillness, the continuous and discontinuous confrontation, such as the color of the sun against the snow, and the enchanting beauty reflected in the mirror. It is not contrast, nor is it the "uneven contrast" favored by Zhang Ailing, but two sides of a whole, which is the beauty and illusion of life before it reaches death, because it keeps disappearing and gushes out endless attachment. Island village is not only a narrative corner, but also a part of the landscape: the death of leaves and men is taking care of the birth and departure of foal and island village; The resolute return of leaves to death, like the world seen through a grain of sand, illuminates the island village's melancholy about life.

Reading the fictional motivation of this novel reminds me of another work, The Story of the Stone, which is permeated with "uneven contrast" everywhere. What runs through the two works is such a similar spiritual background: love or illusion? Which is real and which is empty? Is it clinging to the beauty of mourning, or turning to the futility of fate? When the memory is so subtle and unforgettable, who will realize the illusion of the world of mortals and give up the cliff?

In fact, I have always been disgusted with many things in Japan. The reason is self-evident. However, when I saw the essay "Dying" by the famous Japanese writer Yasunari Kawabata, I was very shocked. Then I learned about his novel Snow Country.

I always feel that Kawabata Yasunari's works are too clean, especially Izu Dancer. Cleanliness makes people feel that everything is a fantasy. In today's complex world full of interests and desires, such pure, clean and sincere feelings reflect the most simple and primitive precious temperament of human beings, which makes people fascinated and fascinated, but they can't bear to break this throb.

Snow country takes the world of snow as the background. Snow is the cleanest, most sacred, most beautiful and almost illusory thing in the world. Throughout the text, there is a faint feeling of depression, sadness and sorrow.

Shimamura is both the hero of the story and a bystander. I don't like this role. He is negative. Facing the foal's obsession with himself, he felt that everything was in vain and could not bring the foal the peace of mind he wanted. Even, he felt that what he had done was in vain in his lust and pursuit of the gorgeous beauty of the pony and the ethereal and clear beauty of the leaves. He looked at the pony running for life, feeling depressed, sympathizing with her, pitying her, sometimes giving her a little comfort, and then calmly telling each other that everything was in vain.

Of course, Shimamura, as a spectator, is also struggling. He has been pursuing the beauty he imagined. The cold and clean leaves he longed for never looked directly at him, but the pony that tangled his contradictions was waiting for him blindly. I am always worried that my mind will be seen through by the pony, and I want to hide and look forward to being close.

On the contrary, I admire foal. Although my efforts are not rewarded, I still live spontaneously and actively, eager for love and persistent in love. Like, hate, every emotion is real, calm, and not artificial at all.

In fact, I have a lot of questions so far. How does Ye Zi feel about the executioner? Just want to realize the wish of the care worker? What about foal and executioner? Why don't you want to meet each other when you die, just don't want to feel the pain of life and death? Komako doesn't seem to like leaves and always avoids related topics in front of Shimamura. But why did she cry so sad and almost crazy when she jumped off the building? Does she really take the leaves as a sustenance, hoping that she can live another self?