Yukio Mishima
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Yukio Mishima (三島 由紀夫 Mishima Yukio?) was the public name of Kimitake Hiraoka (平岡 公威 Hiraoka Kimitake?, January 14, 1925—November 25, 1970), a Japanese author and playwright, famous for both his highly notable nihilistic post-war writings and the circumstances of his ritual suicide by seppuku.
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[edit] Early life
Mishima's early childhood was dominated by the shadow of his grandmother, Natsu, who took the boy and separated him from his immediate family for several years. Natsu was of a minor retainer family which had been related to the samurai of the Tokugawa era; she maintained considerable aristocratic pretensions even after marrying Mishima's grandfather, a commoner but nevertheless a bureaucrat who had made his fortunes in the newly-opened colonial frontier. She was stubborn, and this was exacerbated by her sciatica. The young Mishima was employed to massage her to help alleviate her pain. She was also prone to violent, even morbid outbursts bordering on madness, which are occasionally alluded to in Mishima's works. It is to Natsu that some biographers have traced Mishima's fascination with death, and to the exorbitant; she read French and German, and had an aristocrat's taste for the Kabuki. Natsu famously did not allow Mishima to venture into the sunlight, to engage in any kind of sport, or to play with boys; he spent much of his time alone, or with female cousins and their dolls.
Mishima returned to his immediate family at 12. He entered into a relationship with his mother that some biographers have described as nearly incestuous; it was to his mother that he turned always for reassurance and proofreading. His father, a brutal man with a taste for military discipline, employed such tactics as holding the young boy up to the side of a speeding train; he also raided the young boy's room for evidence of an "effeminate" interest in literature, and ripped up adolescent Mishima's manuscripts wantonly. Mishima is reported to have had no response to these gestures. (One important rejoinder one might add to his oft-fictionized early life is that biographers have often taken certain off-the-cuff remarks and Confessions of a Mask as expressions of autobiography. This is problematic, and has led to the more general issue of Mishima as larger-than-life.)
[edit] Schooling and early works
At 12, Mishima began to write his first stories. He read voraciously the works of Wilde, Rilke, and numerous Japanese classics. Although his family was not as affluent as those of the other students of this institution, Natsu insisted that he attend the elite Peers School.
After six miserable years at school, he still was a pale and frail teenager, but he started to do well and became the youngest member of the editorial board in the literary society at the school. He was invited to write a short story for the prestigious literary magazine, Bungei-Bunka (Literary Culture) and submitted Hanazakari no Mori (The Forest in Full Bloom). The story was published in book form in 1944, albeit in a limited fashion due to the shortage of paper in wartime.
Mishima received a draft notice for the Japanese Army during World War II. At the time of his medical check up he had a cold and spontaneously lied to the army doctor about having symptoms of tuberculosis and thus was declared unfit. Although Mishima was greatly relieved of not having to go to war, he continued to feel guilty for having survived and having missed the chance for a heroic death.
Although his father had forbidden him to write any further stories, Mishima continued to write secretly every night, supported and protected by his mother Shizue, who was always the first to read a new story. After school, his father, who sympathized with the Nazis, wouldn't allow him to pursue a writer's career, but instead forced him to study German law. Attending lectures during the day and writing at night, Mishima graduated from the elite Tokyo University in 1947. He obtained a position as an official in the government's Finance Ministry and was set up for a promising career.
However, Mishima had exhausted himself so much that his father agreed to Mishima's resignation of his position during his first year in order to devote his time to writing.
[edit] Post-war literature
Mishima began his first novel, Tōzoku (Thieves), in 1946 and published it in 1948. It was followed up by Kamen no Kokuhaku (Confessions of a Mask), an autobiographical work about a young latent homosexual who must hide behind a mask in order to fit into society. The novel was extremely successful and made Mishima a celebrity at the age of 24.
Mishima was a disciplined and versatile writer. He wrote not only novels, popular serial novellas, short stories, and literary essays, but also highly-acclaimed plays for the Kabuki theater and modern versions of traditional Noh drama.
His writing gained him international celebrity and a sizable following in Europe and America, as many of his most famous works were translated into English.
He travelled extensively, was mentioned to get the Nobel Prize for Literature three times, and was the darling of many foreign publications. However, in 1968 his early mentor Yasunari Kawabata won the Prize and Mishima realized that the chances of it being given to another Japanese author in the near future were slim. It is also believed that Mishima wanted to leave the prize to the aging Kawabata, out of respect for the man who had first introduced him to the literary circles of Tokyo in the 1940s.
[edit] Private life
After Confessions of a Mask, Mishima tried to leave behind the young man who had lived only inside his head, continuously flirting with death. He tried to tie himself to the real, physical world by taking up stringent physical exercise. In 1955, Mishima took up weight training, and his workout regimen of three sessions per week was not disrupted for the final 15 years of his life. From the most unpromising material he forged an impressive physique, as the photographs he had taken show. He also became very skillful at Kendo (the Japanese martial art of swordfighting). However, the swimming and weight lifting only trained his upper body, while his legs stayed thin as before [citation needed].
Although he visited gay bars in Japan, Mishima reportedly remained an observer, and had affairs with men only when he travelled abroad. After briefly considering an alliance with Michiko Shoda—she later became the wife of Emperor Akihito—he married Yoko Sugiyama in 1958. Over the next three years, the couple had a daughter and a son.
In 1967, Mishima enlisted in the Ground Self Defense Force (GSDF) and underwent basic training. A year later, he formed the Tatenokai (Shield Society), composed primarily of young patriotic students who studied martial principles and physical discipline and who were trained through the GSDF under Mishima's tutelage.
In the last ten years of his life, Mishima acted in several movies and co-directed an adaptation of one of his stories, Patriotism, the Rite of Love and Death.
[edit] Ritual suicide
On November 25, 1970, Mishima and four members of the Tatenokai under a pretext visited the commandant of the Ichigaya Camp - the Tokyo headquarters of the Eastern Command of Japan's Self-Defense Forces. Once inside, they proceeded to barricade the office and tied the commandant to his chair. With a prepared manifesto and banner listing their demands, Mishima stepped onto the balcony to address the gathered soldiers below. His speech was intended to inspire them to stage a coup d'etat and restore the Emperor to his rightful place. He succeeded only in irritating them and was mocked and jeered. As he was unable to make himself heard, he finished his planned speech after only a few minutes. He stepped back into the commandant's office and committed seppuku. The customary decapitation at the end of this ritual had been assigned to Tatenokai member Masakatsu Morita. But Morita, who was rumored to have been Mishima's lover, was unable to perform this task properly: after several failed attempts, he allowed another Tatenokai member, Hiroyasu Koga, to finish the job. Morita then attempted seppuku and was also beheaded by Koga.
Another traditional element of the suicide ritual was the composition of jisei (death poems), before their entry into the headquarters.[1]
Mishima prepared his suicide meticulously for at least a year and no one outside the group of hand-picked Tatenokai members had any indication of what he was planning. Mishima must have known that his coup plot would never succeed and his biographer, translator, and former friend John Nathan suggests that the scenario was only a pretext for the ritual suicide of which Mishima had long dreamed. Mishima made sure his affairs were in order and even had the foresight to leave money for the defense at trial of the three surviving Tatenokai members.
[edit] Aftermath
Much speculation has surrounded Mishima's suicide. At the time of his death he had just completed the final book in his The Sea of Fertility tetralogy. He was recognized as one of the most important post-war stylists of the Japanese language.
Mishima wrote 40 novels, 18 plays, 20 books of short stories, and at least 20 books of essays as well as one libretto. A large portion of this oeuvre comprises books written quickly for profit, but even if these are disregarded, a substantial body of work remains.
Mishima espoused a very individual brand of 'nationalism' towards the end of his life (and in death), but it is perhaps most appropriate to say that, in reality, he took a position outside politics proper. He was neither a 'rightist' nor a 'leftist'. He was hated by true nationalists for his contention, in Bunka Boeiron (A Defense of Culture), that Emperor Hirohito should have abdicated and taken responsibility for the war dead. And he was hated by leftists (particularly students) for his outspoken and, in their view, anachronistic commitment to the bushido code of the samurai. That his politics were in fact dominated by the language of aesthetics evinces his essential quality as an outsider and suggests that the relationship between said politics and the political reality of postwar Japan was illusory; delusional, even.
Whilst his end may have been intended as a sort of spiritual testament, the theatrical nature of his suicide, the camp nature of photographs he posed for and the occasionally bathetic nature of his prose have surely taken their toll on his legacy. In both Japanese and Anglo-American academia today, Mishima is virtually unspoken of, especially as his ostensibly "right-wing" opinions are not politically correct. Nevertheless, outside of academia Mishima's works remain popular both in Japan and throughout the rest of the world.
[edit] Awards
- Shincho Prize from Shinchosha Publishing, 1954, for The Sound of Waves.
- Kishida Prize for Drama from Shinchosha Publishing, 1955.
- Yomiuri Prize from Yomiuri Newspaper Co., for best novel, 1957, The Temple of the Golden Pavilion.
- Yomiuri Prize from Yomiuri Newspaper Co., for best drama, 1961, Toka no Kiku.
[edit] Major works
| Japanese Title | English Title | Year | English translation, year | ISBN |
| 仮面の告白 Kamen no Kokuhaku |
Confessions of a Mask | 1948 | Meredith Weatherby, 1958 | ISBN 0-8112-0118-X |
| 愛の渇き Ai no Kawaki |
Thirst for Love | 1950 | Alfred H. Marks, 1969 | ISBN 4-10-105003-1 |
| 禁色 Kinjiki |
Forbidden Colors | 1954 | Alfred H. Marks, 1968-1974 | ISBN 0-375-70516-3 |
| 潮騒 Shiosai |
The Sound of Waves | 1954 | Meredith Weatherby, 1956 | ISBN 0-679-75268-4 |
| 金閣寺 Kinkaku-ji* |
The Temple of the Golden Pavilion | 1956 | Ivan Morris, 1959 | ISBN 0-679-75270-6 |
| 鏡子の家 Kyōko no ie |
Kyoko's House | 1959 | ISBN | |
| 宴のあと Utage no Ato |
After the Banquet | 1960 | Donald Keene, 1963 | ISBN 0-399-50486-9 |
| 午後の曳航 Gogo no Eikō |
The Sailor Who Fell from Grace with the Sea | 1963 | John Nathan, 1965 | ISBN 0-679-75015-0 |
| サド侯爵夫人 Sado Kōshaku Fujin (play) |
Madame de Sade | 1965 | Donald Keene, 1967 | ISBN 0-7814-5600-3 |
| 真夏の死 Manatsu no Shi |
Death in Midsummer and other stories | 1966 | Edward G. Seidensticker, Ivan Morris, Donald Keene, Geoffrey W Sargent, 1966 |
ISBN 0-8112-0117-1 |
| わが友ヒットラー Waga Tomo Hittora (play) |
My Friend Hitler and other plays | 1968 | Hiroaki Sato, 2002 | ISBN 0-231-12633-6 |
| 太陽と鉄 Taiyō to Tetsu |
Sun and Steel | 1970 | John Bester | ISBN 4-7700-2903-9 |
| 豊穣の海 Hōjō no Umi |
The Sea of Fertility tetralogy: | 1964- 1970 |
ISBN 0-677-14960-3 | |
| Part one: Haru no Yuki |
|
Michael Gallagher, 1972 | ISBN 0-394-44239-3 | |
| Part two: Honba |
|
Michael Gallagher, 1973 | ISBN 0-394-46618-7 | |
| Part three: Akatsuki no Tera |
|
E. Dale Saunders and Cecilia S. Seigle, 1973 | ISBN 0-394-46614-4 | |
| Part four: Tennin Gosui |
|
Edward Seidensticker, 1974 | ISBN 0-394-46613-6 | |
| 葉隠入門 Hagakure Nyūmon |
The Way of the Samurai: Yukio Mishima on Hagakure in modern life | Kathryn Sparling, 1977 | ISBN 0-465-09089-3 | |
| 三熊野詣 Mikumano Mode |
Acts of Worship | John Bester, 1995 | ISBN 0-87011-824-2 | |
| 絹と明察 Kinu to Meisatsu |
Silk and Insight | Hiroaki Sato, 1998 | ISBN 0-7656-0299-7 |
- For the Kinkaku-ji temple, see: Kinkaku-ji
[edit] Plays for the classical Japanese theatre
In addition to contemporary style plays such as Madame de Sade, Mishima wrote for two of the three genres of classical Japanese theatre: Noh and Kabuki. (But not for the Bunraku: as a proud Tokyoite he would not even attend the puppet theatre, always associated with Osaka and the provinces).[2]
Though Mishima took themes, titles and characters from the Noh canon, his twists and modern settings such as hospitals and ballrooms startle audiences accustomed to the long-settled originals.
Donald Keene translated Five Modern Noh Plays (Tuttle, 1981; ISBN 0-8048-1380-9). Many of Mishima's other classical plays remain untranslated (as with much of these genres). Some lack even a clear consistent English title; these may best be referenced using the Romanized title.
| Year | Japanese Title | English Title | Genre |
| 1950 | 邯鄲 Kantan |
Noh | |
| 1952 | 卒塔婆小町 Sotoba Komachi |
Komachi at the Stupa (or Komachi at the Gravepost) | Noh |
| 1954 | 鰯賣戀曳網 Iwashi Uri Koi no Hikiami |
Kabuki | |
| 1955 | 綾の鼓 Aya no tsuzumi |
The Damask Drum | Noh |
| 1955 | 芙蓉露大内実記 Fuyō no Tsuyu Ōuchi Jikki |
The Ōuchi Clan (oversimplified, not standard) | Kabuki |
| 1956 | 班女 Hanjo |
Noh | |
| 1956 | 葵の上 Aoi no Ue |
The Lady Aoi | Noh |
| 1965 | 弱法師 Yoroboshi |
The Blind Young Man | Noh |
[edit] Films
| Year | Title | USA Release Title | Character | Director |
|---|---|---|---|---|
| 1951 | 純白の夜 Jumpaku no Yoru |
unreleased in the U.S. | Hideo Ohba | |
| 1959 | 不道徳教育講座 Fudōtoku Kyōikukōza |
unreleased in the U.S. | himself | Katsumi Nishikawa |
| 1960 | からっ風野郎 Karakkaze Yarō |
Afraid to Die | Takeo Asahina | Yasuzo Masumura |
| 1966 | 憂国 Yūkoku |
Patriotism, The Rite of Love and Death | Shinji Takeyama | Domoto Masaki, Yukio Mishima |
| 1968 | 黒蜥蝪 Kurotokage |
Black Lizard | Human Statue | Kinji Fukasaku |
| 1969 | 人斬り Hitokiri |
Tenchu! | Shimbei Tanaka | Hideo Gosha |
| 1985 | Mishima: A Life in Four Chapters (bio-pic) |
Mishima | Paul Schrader Music by Philip Glass |
|
| Yukio Mishima: Samurai writer (BBC documentary) |
Yukio Mishima: Samurai writer | Michael Macintyre |
[edit] Works about Mishima
- Ba-ra-kei: Ordeal by Roses by Eikoh Hosoe and Mishima (photoerotic collection of images of Mishima, with his own commentary) (Aperture 2002 ISBN 0-89381-169-6)
- Deadly Dialectics: Sex, Violence, and Nihilism in the World of Yukio Mishima by Roy Starrs (University of Hawaii Press, 1994, ISBN 0-8248-1630-7 and ISBN 0-8248-1630-7)
- Escape from the Wasteland: Romanticism and Realism in the Fiction of Mishima Yukio and Oe Kenzaburo (Harvard-Yenching Institute Monograph Series, No 33) by Susan J. Napier (Harvard University Press, 1995 ISBN 0-674-26181-X)
- Mishima: A Biography by John Nathan (Boston, Little, Brown and Company 1974, ISBN 0-316-59844-5)
- Mishima ou la vison du vide (Mishima : A Vision of the Void), essay by Marguerite Yourcenar trans. by Alberto Manguel 2001 ISBN 0-226-96532-5)
- Rogue Messiahs: Tales of Self-Proclaimed Saviors by Colin Wilson (Mishima profiled in context of phenomenon of various "outsider" Messiah types), (Hampton Roads Publishing Company 2000 ISBN 1-57174-175-5)
- The Life and Death of Yukio Mishima, by Henry Scott Stokes London : Owen, 1975 ISBN 0-7206-0123-1)
- The Madness and Perversion of Yukio Mishima by Jerry S. Piven. (Westport, Connecticut, Praeger Publishers, 2004 ISBN 0-275-97985-7)
- Yukio Mishima by Peter Wolfe ("reviews Mishima's life and times, discusses, his major works, and looks at important themes in his novels," 1989, ISBN 0-8264-0443-X)
- Yukio Mishima, Terror and Postmodern Japan by Richard Appignanesi (2002, ISBN 1-84046-371-6)
- Mishima's Sword - Travels in Search of a Samurai Legend by Christopher Ross (2006, ISBN 0-00-713508-4)
- Mishima: A Life in Four Chapters (1985), a film directed by Paul Schrader [1]
[edit] References
- ^ Donald Keene, The Pleasures of Japanese Literature, p.62
- ^ Donald Keene, Chronicles of My Life in the 20th Century (29. Mishima in New York) http://www.yomiuri.co.jp/dy/features/essay/20060805dy02.htm
[edit] External links
- The Mishima Yukio Cyber Museum
- Web page devoted to Yukio Mishima
- Yukio Mishima: A 20th Century Samurai
- Books and Writers bio
- Short bio with photo
- Entry from "CLASSIC GAY LITERATI" page
- Sacred Visions of Splendor, essay on the meaning of Yukio Mishima's suicide
- Mishima chronology, with links
- YUKIO MISHIMA: The Harmony of Pen and Sword Ceremony commemorating his 70th Birthday Anniversary
- Blood and Flowers: Purity of Action in The Sea of Fertility
- "I Cut Off the Head of Yukio Mishima"
- Article focusing on Mishima's homosexuality
- Film review of Yukoku (Patriotism)
- Article about ritual suicide (Seppuku) (archived at the WaybackMachine)
- Short interview clip from Yukio Mishima: Samurai writer BBC documentary
