Japanese life intricately weaves together a tapestry of dualities, creating a landscape imbued with tension and complexity. These dualities manifest in various forms, often serving as both barriers and sources of cultural richness. A prominent dichotomy is the contrast between Eastern and Western influences. This is vividly illustrated in the juxtaposition of traditional kimonos against Western attire, and the melancholic chords of the puppet theater's music set against the vibrant rhythms of jazz. Such contrasts highlight the persistent dialogue between tradition and modernity. Another significant divergence is seen between the cultures of Osaka and Kyoto, known for their old-fashioned tranquility, and the bustling, sophisticated culture of Tokyo. This mirrors the broader spectrum of past versus present, where historical customs and contemporary lifestyles coexist, sometimes harmoniously, sometimes in discord. The perception of women in Japanese society also reveals dualities, as seen in the contrast between the courtesan and the mother or goddess figures. These roles, shaped largely by male perspectives, oscillate between the passive and the active, reflecting broader societal expectations and stereotypes. Furthermore, the tension between art and reality is ever-present. Traditional Japanese art forms, with their refined aesthetics, stand in stark opposition to the artifice of modern life. Similarly, dramatic portrayals of women in Eastern narratives often contrast sharply with the idealized images seen in Hollywood films. These dualities, woven into the fabric of Japanese life, create a complex cultural tapestry that continues to evolve, reflecting the country's ongoing negotiation between its rich heritage and the demands of modernity.

In the nuanced landscape of Osaka and Kyoto, Misako’s father and O-hisa embody the traditional roles of dominant male and submissive female, firmly rooted in the past. Their lives are guided by the values and customs of the East, standing in stark contrast to the wavering indecision that plagues Kaname and Misako. Caught in a web of paralyzing irresolution, they find themselves adrift, their minds entangled with the passivity that characterizes Tokyo values. This urban malaise is an affliction Kaname notes early in the narrative, recognizing that the "son of Tokyo" is afflicted with "an excessive concern with appearances and a timid unwillingness to act."

As the story unfolds, Kaname reflects on this characteristic hesitation, reminiscent of what ancient perspectives might label as "girlish sentimentality," an inability to confront the sorrow intrinsic to farewells. In contemporary terms, however, he ponders whether society now considers it clever to achieve objectives while circumventing any trace of sorrow that might accompany the journey. This reflection underscores a cultural shift, highlighting a preference for emotional evasion over the fortitude traditionally associated with personal growth and change.

Throughout the novel, the imagery of liquid serves as a fitting metaphor for the characters' vacillation and uncertainty. This recurrent motif is intricately linked to Kaname and Misako, manifesting the fluidity and instability of their lives and decisions. The persistent presence of rain, a key element of this imagery, underscores the pervasive mood of irresolution that defines their journey. As the novel approaches its end, the rain, embodying the heaviness and inertia of their indecisiveness, suggests that Kaname and Misako have gradually drifted towards an inevitable conclusion, much like the unyielding, static climate that envelops them.