Differences between the written and filmed version of “Yuki Onna”?

YUKI-ONNA
In a village of Musashi Province (1), there lived two woodcutters:
Mosaku and Minokichi. At the time of which I am speaking,
Mosaku was an old man; and Minokichi, his apprentice, was a lad
of eighteen years. Every day they went together to a forest situated
about five miles from their village. On the way to that forest there
is a wide river to cross; and there is a ferry-boat. Several times a
bridge was built where the ferry is; but the bridge was each time
carried away by a flood. No common bridge can resist the current
there when the river rises.
Mosaku and Minokichi were on their way home, one very cold
evening, when a great snowstorm overtook them. They reached the
ferry; and they found that the boatman had gone away, leaving his
boat on the other side of the river. It was no day for swimming;
and the woodcutters took shelter in the ferryman’s hut,—thinking
themselves lucky to find any shelter at all. There was no brazier in
the hut, nor any place in which to make a fire: it was only a twomat
[1] hut, with a single door, but no window. Mosaku and
Minokichi fastened the door, and lay down to rest, with their straw
rain-coats over them. At first they did not feel very cold; and they
thought that the storm would soon be over.
The old man almost immediately fell asleep; but the boy,
Minokichi, lay awake a long time, listening to the awful wind, and
the continual slashing of the snow against the door. The river was
roaring; and the hut swayed and creaked like a junk at sea. It was a
terrible storm; and the air was every moment becoming colder; and
Minokichi shivered under his rain-coat. But at last, in spite of the
cold, he too fell asleep.
He was awakened by a showering of snow in his face. The door of
the hut had been forced open; and, by the snow-light (yuki-akari),
he saw a woman in the room,—a woman all in white. She was
bending above Mosaku, and blowing her breath upon him;—and
her breath was like a bright white smoke. Almost in the same
moment she turned to Minokichi, and stooped over him. He tried
to cry out, but found that he could not utter any sound. The white
woman bent down over him, lower and lower, until her face almost
touched him; and he saw that she was very beautiful,—though her
eyes made him afraid. For a little time she continued to look at
him;—then she smiled, and she whispered:—”I intended to treat
you like the other man. But I cannot help feeling some pity for
you,—because you are so young… You are a pretty boy,
Minokichi; and I will not hurt you now. But, if you ever tell
anybody—even your own mother—about what you have seen this
night, I shall know it; and then I will kill you… Remember what I
say!”
With these words, she turned from him, and passed through the
doorway. Then he found himself able to move; and he sprang up,
and looked out. But the woman was nowhere to be seen; and the
snow was driving furiously into the hut. Minokichi closed the door,
and secured it by fixing several billets of wood against it. He
wondered if the wind had blown it open;—he thought that he
might have been only dreaming, and might have mistaken the
gleam of the snow-light in the doorway for the figure of a white
woman: but he could not be sure. He called to Mosaku, and was
frightened because the old man did not answer. He put out his hand
in the dark, and touched Mosaku’s face, and found that it was ice!
Mosaku was stark and dead…
By dawn the storm was over; and when the ferryman returned to
his station, a little after sunrise, he found Minokichi lying senseless
beside the frozen body of Mosaku. Minokichi was promptly cared
for, and soon came to himself; but he remained a long time ill from
the effects of the cold of that terrible night. He had been greatly
frightened also by the old man’s death; but he said nothing about
the vision of the woman in white. As soon as he got well again, he
returned to his calling,—going alone every morning to the forest,
and coming back at nightfall with his bundles of wood, which his
mother helped him to sell.
One evening, in the winter of the following year, as he was on his
way home, he overtook a girl who happened to be traveling by the
same road. She was a tall, slim girl, very good-looking; and she
answered Minokichi’s greeting in a voice as pleasant to the ear as
the voice of a song-bird. Then he walked beside her; and they
began to talk. The girl said that her name was O-Yuki [2]; that she
had lately lost both of her parents; and that she was going to Yedo
(2), where she happened to have some poor relations, who might
help her to find a situation as a servant. Minokichi soon felt
charmed by this strange girl; and the more that he looked at her,
the handsomer she appeared to be. He asked her whether she was
yet betrothed; and she answered, laughingly, that she was free.
Then, in her turn, she asked Minokichi whether he was married, or
pledged to marry; and he told her that, although he had only a
widowed mother to support, the question of an “honorable
daughter-in-law” had not yet been considered, as he was very
young… After these confidences, they walked on for a long while
without speaking; but, as the proverb declares, Ki ga areba, me mo
kuchi hodo ni mono wo iu: “When the wish is there, the eyes can
say as much as the mouth.” By the time they reached the village,
they had become very much pleased with each other; and then
Minokichi asked O-Yuki to rest awhile at his house. After some
shy hesitation, she went there with him; and his mother made her
welcome, and prepared a warm meal for her. O-Yuki behaved so
nicely that Minokichi’s mother took a sudden fancy to her, and
persuaded her to delay her journey to Yedo. And the natural end of
the matter was that Yuki never went to Yedo at all. She remained
in the house, as an “honorable daughter-in-law.”
O-Yuki proved a very good daughter-in-law. When Minokichi’s
mother came to die,—some five years later,—her last words were
words of affection and praise for the wife of her son. And O-Yuki
bore Minokichi ten children, boys and girls,—handsome children
all of them, and very fair of skin.
The country-folk thought O-Yuki a wonderful person, by nature
different from themselves. Most of the peasant-women age early;
but O-Yuki, even after having become the mother of ten children,
looked as young and fresh as on the day when she had first come to
the village.
One night, after the children had gone to sleep, O-Yuki was sewing
by the light of a paper lamp; and Minokichi, watching her, said:—
“To see you sewing there, with the light on your face, makes me
think of a strange thing that happened when I was a lad of
eighteen. I then saw somebody as beautiful and white as you are
now—indeed, she was very like you.”…
Without lifting her eyes from her work, O-Yuki responded:—
“Tell me about her… Where did you see her?”
Then Minokichi told her about the terrible night in the ferryman’s
hut,—and about the White Woman that had stooped above him,
smiling and whispering,—and about the silent death of old
Mosaku. And he said:—
“Asleep or awake, that was the only time that I saw a being as
beautiful as you. Of course, she was not a human being; and I was
afraid of her,—very much afraid,—but she was so white!… Indeed,
I have never been sure whether it was a dream that I saw, or the
Woman of the Snow.”…
O-Yuki flung down her sewing, and arose, and bowed above
Minokichi where he sat, and shrieked into his face:—
“It was I—I—I! Yuki it was! And I told you then that I would kill
you if you ever said one word about it!… But for those children
asleep there, I would kill you this moment! And now you had
better take very, very good care of them; for if ever they have
reason to complain of you, I will treat you as you deserve!”…
Even as she screamed, her voice became thin, like a crying of
wind;—then she melted into a bright white mist that spired to the
roof-beams, and shuddered away through the smoke-hold… Never
again was she seen.

Answer one or more of the following questions in a one page
response paper
Kwaidan:
1.What are the main differences between the written and filmed version of “Yuki Onna”?
2. What are some of the distinctive stylistic techniques in Kobayashi’s film?
3. “Yuki Onna” (both the film and the story) tells of crossing from one world to another.
How is the encounter between the two worlds depicted? What is it that opens the passageway between them? What closes off the passageway?
4. What are the main characteristics of the snow woman? Does she appear as alluring or threatening to the woodcutter? To what extent does she exhibit the characteristics of the yōkai (spirit)?