"Thirst for Love or Lust"

She sees herself as a be superior to the rural characters just about her, insofar when her granding is expressed, it takes as its object an unsophisticated gardener. She is displace to him with uncontrollable and obsessive longing, yet she feels postcode solely violent repulsion when there seems to be a chance of securing her desire. She is both drawn and repelled by the gardener, the pot in the country, and life in general. It is as if she were faced with frantic and sexual vertigo, drawn inexplicably to the edge of the cliff of love and hunger, however sensing that yielding to that longing pass on destroy her, will subsume her in a sea of emotion and lust in which she will psychologically drown:

For Etsuko---born and brought up in Tokyo---Osaka held unfathomed terrors. . . . [Yet] it was not really this that Etsuko feared. Might it have been postcode that life itself? Life---this limitless, complex sea, filled with assorted flotsam, feature with capricious, violent, and yet eternally transparent blues and greens (3-4).

Etsuko suffers from inexplicable fevers which symbolize the power life and longing for love has o'er her: "Her cheeks were very warm. That was a common occurrence with her. There wasn't some(prenominal) reason for it; . . . it was just that suddenly her cheeks would start to burn" (4).

Etsuko is a woman essentially alone in the world. Her husband is curtly and she has gone to live in the household of her father-in-law. She f

eels at home nowhere in the world. She longs for connection, but finds it nowhere. Her need for connection, for love,m finds the young gardener as its target, but it right away becomes a need which she senses will destroy her. She is simultaneously drawn to and repulsed by the young man. She cannot live without trying to make that connection, but knows in some irrational way that if she makes the connection, fulfills her longing, she will be destroyed.

Her father-in-law, Yakichi, has taken her as his lover, but she is repulsed by him:

Mishima, Yukio. Thirst for Love. freshly York: Perigee, 1980.

. . . The ceaselessly twisting lower half of his body was confused in darkness, but his barely moving back was assumption over to a mad kaleidoscope of flame and shadow.

the movements of the flesh around his shoving shoulder bones seemed like the exertions of the wings of a efficacious bird in flight. Etsuko longed to touch him with her fingers. That back was to her metaphorically a bottomless ocean depth; she longed to throw herself into it (114).

Etsuko seems far much at peace when Saburo is absent than when he is near. As long as he is truly unattainable, she is able to maintain the beau ideal of her love for him: "To me his absence was a plump, fresh weight. That was joy!" (67). On the other hand, his presence brings her nothing but a uplift approaching madness, as when she is near him at a fete:

Etsuko is finally confronted, face-to-face, with the young gardener's recognition of her longing for him, but she interprets his double spoken language as a sign of his rejection of that longing. She simply cannot place upright the thought that the ideal of her love is about to become real, that she superpower be on the verge of fulfilling that longing. Again, we see Etsuko's sense of the final stage which awaits her if she were to yield to her longing, her "thirst for love":

Why did Etsuko say nothing all this time? Was it because she had finally come to understand that words were useless? W
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