<P> In conclusion, both Ryuji and Noboru feel detached to society, and in various degrees and for different reasons, they both try to relieve their isolation . In Fusako, Ryuji finds the anchor for which he has been searching, and moves quickly into the comfortable life of lover and father . Noboru has chosen to turn his loneliness to hatred and seek for strength using murder . The prevalence of alienation and loneliness as a theme can be linked back to Mishima's own background . Not unlike Noboru and The chief, Mishima dreamt that Japan was restored to its original power and glory . Mishima's dislike towards Japan's westernization is reflected through "Chief's contempt of adult nature . </P> <Ul> <Li> Gender roles </Li> </Ul> <P> The role of females in the novel seems sparse--the main female character is Fusako, who is the love interest of Ryuji and the mother of Noboru . In some ways, she is one of the most important characters in the novel as her relationship with Ryuji is the unbecoming of him in some ways . The balance of their relationship seems quite equal and Fusako is portrayed to be the perfect partner and housewife . She is also portrayed to be an independent woman who is doing better in her business than Ryuji is with his work . She is also seen to be diplomatic with her clients in her business . Male characters dominate the book, but most seem dependent or obsessed with some sort of notion--Ryuji with his quest for glory, Noboru and his need to conform to his' gang's' ideology, and the chief and his obsession with his ideas surrounding life . Males in the book also seem to be the characters who are pursuing a specific goal, unlike Fusako, who seems to be a static character throughout the novel . </P> <Ul> <Li> Ryuji Tsukazaki </Li> </Ul>

A sailor who fell from grace with the sea