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The ocean symbolizes the power of nature and the inevitability of death, making it key to the theme of The Acceptance of Impermanence and Death. The unpredictability of the ocean—its waxing and waning storms and waves—is itself a demonstration of the world’s changeability, while the danger that unpredictability poses reflects the broader danger of life on the islands of Japan. The novella thus uses the geography of the Japanese archipelago to explain and evoke the Japanese cultural attitude of bravery in the face of death, as well as the Buddhist emphasis on the impermanence of all things. For example, Kino’s father argues that everyone who lives by the shore must learn to accept the coming and going of the big wave, just as they must learn to accept the births and deaths of loved ones. Jiya learns this lesson forcefully through his trauma and eventually embraces Japanese ideals of stoicism in the face of death, as apparent in the house he builds.
Another notable aspect of the ocean’s symbolism is Buck’s use of personification. Various characters give the ocean the human characteristics of anger and cruelty even as these same characters remain in awe of its beauty. This reflects the Shinto belief that all aspects of nature possess a spirit and must therefore be treated with respect. This personification also confirms the ocean’s role as the story’s primary antagonist.
Just as the ocean (and the wave) symbolizes the destructive power of nature and the inevitability of death, the window overlooking the water in Jiya’s house symbolizes his acceptance of that danger and his willingness to face death head-on. This house contrasts with the houses in the village at the beginning of the story, none of which have windows that open to the water, indicating the fishermen’s fear of the ocean and its anger: Out of fear and respect, they literally turn their backs to the water. Thus, while Kino and Jiya watch the wave approach from the mountainside, those who remain in the village presumably do not see the wave coming. Though the villagers know a tidal wave is likely approaching, their inability to actually see it symbolizes an unwillingness to face death head-on.
Therefore, when Jiya rebuilds his house by the water, his window demonstrates his maturity and the lesson he has learned from his loss. His house opens to the ocean so that he can always see what is coming. Jiya explains, “If ever the big wave comes back, I shall be ready. I face it. I am not afraid” (57), and Kino’s father is satisfied with his bravery. Importantly, facing and accepting the danger does not necessarily mean allowing himself or his loved ones to die without a fight. Rather, it means acknowledging that danger is a part of their lives and preparing accordingly.
The Old Gentleman’s castle functions on several levels. First, it symbolizes the wealth and class differences between the poor villagers and the Old Gentleman. Kino and Jiya witness the contrast firsthand when they visit the Old Gentleman. Kino’s family farm is small, poor, and modest compared to the size, beauty, and grandeur of the castle. Similarly, the castle represents the lingering patriarchal attitudes of this old feudal tradition in both its positive aspects (the Old Gentleman’s willingness to shelter the villagers) and its negative ones (his anger when the villagers defy his wishes).
Additionally, the castle symbolizes a lack of respect for and acknowledgment of the dangers of nature, in direct opposition to Jiya’s house. Because the castle is so large and built on a high knoll, the Old Gentleman believes it is beyond the reach of nature’s anger. This is why he insists that the villagers stay there for their own safety and is so angry when they leave. However, this only reveals that the Old Gentleman has not learned to accept impermanence and death as a natural part of life the way Jiya and the others have. Jiya must explain to him that even his castle is not immune to destruction, saying, “If the earth shakes hard enough, your castle will crumble, too. There is no refuge for us who live on these islands” (51). This comment echoes an earlier comment made by Kino’s father and demonstrates Jiya’s wisdom and maturity.
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By Pearl S. Buck