Info:ndljp/pid/1121610/8

It was clearly at a loss. The path it had followed up to that point seemed suddenly lost in darkness. It was useless to turn back. It was impossible to scan its way ahead. There was hardly any promise for the future. There was something wrong with each moment that people counted as they breathed the stifling air. The clouds that hung low over the horizon of the nation shut out the very light which is helpful in hours of uncertainty and difficulty.

The mountain, often symbolic of repose and patience, more often suggests a barrier, a mark of opposition, a symbol of trial and hardship. But to the imagination of the Japanese nation which has come through a period of trial, a period at least of two decades, in which it was brought under the increasing weight of foreign pressure and opposition and suspicion, mountains can only mean a symbol of trial and difficulty. This imagery is particularly clear when mountains are painted or seen in somber shadows, barren, steep, threatening. A painter depicting Japan prior to the Manchurian incident of 1931, or through the years or the China conflict, might have shown her in the form of a figure groping its way through the shadow of toweing mountains. 

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