Keiichiro Hirano's "Kinkakuji" Theory
Yukio Mishima and "The Temple of the Golden Pavilion
I read "100 Minutes to My Book" by Keiichiro Hirano - Yukio Mishima's "The Temple of the Golden Pavilion". The analysis and commentary on the work is precise and complete, and should be the starting point (source) for future reading of the work.
However, just as it is clear that there are people who have not read "Koibumi" (Love Letters), a novel that is not included in Yukio Mishima's complete works, there are also books that Keiichiro Hirano has not read.
If we are going to talk about Mishima's death, I think it is necessary to explain why he called Hideo Murata on the day he decided to go, and why he sang "Karajishi Peony" with the members of the Tate no Kai in a used Corona. Why Hideo Murata and Ken Takakura? I do not have a precise conclusion.
Still, if you dare to look at the literary rhetoric, you will find the unwritten meaning of "not being Koji Tsuruta. This is a disease. These three men, Hideo Murata, Ken Takakura, and Koji Tsuruta, were the stars of Toei's chivalrous films, such as "Nihon Chivalric Entertainments" and "Life Theater: Flying Horns. Of course, Koji Tsuruta was at the top of the list. For some reason, Yukio Mishima, while writing "The Voice of the soldiers who died in the war ", played the role of the possessed Asaichi Isobe (April 1, 1905 - August 19, 1937). The performance was so overt that it left a lasting impression on many people. The testimony of Akihiro Miwa can still be seen on YouTube. Koji Tsuruta plays the role of Asaichi Isobe in Japan Assassination Records (1969). In a conversation with Koji Tsuruta, he promised, "Whenever you do something, give me a call and we'll do it together. I promised him. Of course, Koji Tsuruta would not have been able to do anything even if he had received a phone call on the same day, in the same way that no self-defense officer would turn his stomach after being shouted at from the balcony, but the fact remains that it was not Koji Tsuruta.
However, I am not complaining about the fact that Hideo Murata's case is not written in "100 Minutes to a Great Book" - Yukio Mishima's "The Temple of the Golden Pavilion. The problems with "100 Minutes to My Book" - Yukio Mishima's "The Temple of the Golden Pavilion" are
(1) The influence of Hasuda Zenmei and Yasuda Yojuro is retained in the prewar period.
(2) The sudden shift to the right in his forties.
(3) The failure of "Kyoko's House" is seen as the trigger of his death.
I think there is a slight discrepancy in the interpretation of Yuiko's role in "Zekka". In "Zekka" Yuiko was not written. Sakakibara was aware of Yukio Mishima's rhetoric of hiding small lies with big lies. It is no wonder that he is the same height as Emperor Showa and Yukio Mishima (163 centimeters). Sakakibara wrote that "The Temple of the Golden Pavilion" is his own story, his bible. If that is the case, then the incident that occurred before the series of incidents must have been the catalyst for all of this.
Suddenly called away
Hirano Keiichiro probably also listened to the tape of the conversation with Mishima Yukio a week before his death. He probably took Mishima's words as they were, and regarded the relationship between Zenmei Hasuda and Yojuro Yasuda as a limited pre-war relationship through fanzine of "Bungei Bunka".
Yukio Mishima is a smart liar. In the conversation, he unexpectedly brought up "Kamo no Chomei"*1 and revealed that he still had a strong memory of Hasuda Zenmei's "Kamo no Chomei". Of course, from the letters and records, it is clear that the influence of Hasuda Zenmei and Yasuda Yojuro continued until just before his death.
Even after the war, when Mishima met people, he would say that Mr. Yasuda's ideas were admirable, and he wrote the preface to "Zenmei Hasuda and His Death" by Kotakane Jiro (Chikuma Shobo, March 1970). He also cried when he read this book.
However, for some reason, in the last interview, he addressed Mojamoja (Shimizu Fumio) as "Sensei" while calling Hasuda Zenmei and Yasuda Yojuro by their first names. This rhetoric went unnoticed by Keiichiro Hirano. I believe it was because he was determined to show that he was neither Hasuda Zenmei nor Yasuda Yojuro. Otherwise, there would be no reason for me to bring them up here and call them out.
The Meaning of Rightward Turn
This is the most difficult thing to understand, but Yukio Mishima's shift to the right began on February 24 of the following year, after the waters had cooled from the writing disaster caused by "Furyu mutan," which was scheduled to be published at the same time as "Sorrowing for my country". It is shown to the world as a military uniform worn for a masquerade party. This is truly a masquerade, a mask. Later, this masquerade became the uniform of the Tate no Kai, and as a work, it reached its peak with "Eirei no Koe" and "The Raging Horse".
Among Yukio Mishima's works, Keiichiro Hirano considers "The Golden Pavilion" and "Confessions of a Mask" to be the works in which Yukio Mishima's own true voice appears, which is indeed a wise observation. Mishima himself said, "If you ask me what Mishima means by any one book, I would say 'Melancholy,'" which is also a rhetoric of Yukio Mishima.
In the last interview, Yukio Mishima was also called an ultranationalist. In response to the question, "Won't your actions be used for rearmament and conscription," Mishima replied, "It will never come to that. Please watch me now," he said, about to remove his mask.
It is no wonder that his Nazi father complained to Seiji Tsutsumi of the Seibu Department Store at Mishima's funeral, saying, "You made that thing (the Tate no Kai uniform that looks like "Cyborg 009"), and that's why we're in this mess. When he was at Gakushuin, Mishima called right-wing students who made rousing speeches "those morons," and just before his death, he said, "I'll show those right-wingers what they can do. Normally, such people are not called right-wingers. He also hated the term "patriot. Loyalty is fine, he said. However, Yukio Mishima's loyalty is dedicated to the phantom Nancho, and he said to Emperor Showa, "I can't kill myself for an old man like him," so no matter how much he shouts "Long live the Emperor," his loyalty is not to the Emperor personally, but to the Emperor in person. In this respect, their position is completely different from that of right-wingers who welcome the emperor as a human being, imitating the British royal family.
Furthermore, Yukio Mishima's views and ideas about the emperor were not shared by anyone, including the members of the Vertical Association. Like the incomparable "I" of Hitoshi Nagai, Yukio Mishima's actions and thoughts are incomparable. What I have written so far is true, though not incomparable. Yukio Mishima's thought is not the same as in "The Raging Horse". And if you read it carefully, you will see that it was the death of a burning bee to cover up the fact that his thought could be questioned. Nor is it the same as in "Yukoku". This is not in line with his last will and testament, which calls for a statue to be erected in a place where Fuji can be seen.
The Failure of "Kyoko's House"
As pointed out by Keiichiro Hirano, Yukio Mishima had a series of disasters from his late thirties until his death. The failure of "Kyoko's House" was particularly painful. In an attempt to depict the postwar period from a blank canvas, he produced a vague work that was very unpopular. However, Yukio Mishima himself disagreed with the idea that it was all downhill from here, as is often said.
Mishima himself had high hopes for "The Sea of Fertility," which was harshly criticized by Shintaro Ishihara, Akiyuki Nosaka, and others, and was even said to be "so empty that I cried when I read it. From the letter, he seems quite confident. I myself consider "The Sea of Fertility" a masterpiece, and the brushwork in the scene of the audience with the empress in "Spring Snow," for example, seems to have been written as if to say, "This is not like Dazai, not like Dazai". Every time I re-read it, I think, "This is it, this is it, this is Mishima. Without the brilliance of Yukio Mishima, it is frightening to think how thin Japanese literature would have become.
And if we check his interview "Confessions" from six months before his death, we can see that the failure of "Kyoko's House" was part of the accumulation of damage, but not the trigger of his death. In addition, from the records of his close relatives such as Shibusawa Tatsuhiko, we know that Yukio Mishima had a plan for his life's work, "I want to write about Lord Teika Fujiwara someday," and just before his death, he had a plan to write the next installment of "The Five Decades of Heavenly Man", a story about a foreign woman who was taught by Kaiko Ken.
A week before his death, he says, "I have nothing left, I'm exhausted," but until six months ago, he had a plan. In other words, it is clear from the data that the plan for the five parts of "The Sea of Fertility" was accelerated by more than half a year, and the contents of "The Five Decades of Heavenly Man" were changed considerably. If his next work was scheduled after the five parts of "Reincarnation, Simultaneous Existence, Double Personality, and Doppelganger: The Universal Phase of Humanity, Relativism of Humanity, and the Masquerade Ball of Humanity," it is possible that Mishima's death would have occurred at least two years later.
He answered on the phone about the publication of a collection of poems from his youth, "Only if I die first," which suggests that he was preparing for death at that time, but I would like you to check my kindle book to find out when that was.
Let's Start Modern Literature 2.0
When I went to a big bookstore, I found that Yukio Mishima's works occupied two shelves of paperbacks, and "The Temple of the Golden Pavilion" was sold out. They must have sold at least five copies in the morning. As expected, the influence of Keiichiro Hirano is great. This is a good thing. If you don't read first, you can't start literature. Let's not just read freely and as we please, but let's start Modern Literature 2.0 while fully enjoying Yukio Mishima's rhetoric and being pushed around by his incomprehensible points.
Oh, is Yukio Mishima also Modern Literature 2.0?
Of course, everything from Man'yoshu to Kasai Yosaku is modern literature.
Yukio Mishima has a novel called "The Yearning of a Medieval Murderer's Philosophical Diary. In fact, both Dazai Osamu and Oda Sakunosuke were avid readers of Saikaku, and are strongly connected to pre-modern literature. Both Mishima and Dazai admired Mori Ogai, which also connects them to modern literature, but Fukasawa Shichiro also recited many Man'yō poems and read the "Kojiki". However, Shichiro Fukasawa also recited many Man'yō poems and read "Kojiki".
This book, "The Philosophical Diary of a Murderer in the Middle Ages," appears to be a prose poem that exposes the demonic within. Of course, by making certain assumptions, we can sort out the logic behind it.
□Month □Day
Killed Ashikaga Yoshitori, the fifth shogun of the Muromachi shogunate. On the day of the murder, the fifth shogun of the Muromachi shogunate, Ashikaga Yoshitori, was killed. The shogun was lying on the floor with a large group of women in lily and peony end gussets, smoking opium from a vermillion-lacquered pipe. He rang a large bell made of five-colored glass from the South China Sea as he slept. He does not anticipate murderers. The general suspects that the murderer is the general. His murdered blood dries like cinnabar and drapes over the gorgeous rim of the dress.
The murderer knows. The murderer knows that only by being killed can the murderer be perfected. And this general is not a descendant of murderers. (Excerpts from the philosophical diary of a medieval murderer)
At first glance, this may seem an odd way to start a story, but if we replace "murderer" with "writer," it is not hard to understand.
It is said that a murderer dies when he is not understood. But even in the depths of the jungle, where no one understands, the birds sing and the flowers bloom. Mission is already a weak point. Consciousness is already a weak point. To be noble, the murderer will have the morning to say a strange prayer to these weaknesses that he himself despises so much.
("Excerpts from the Philosophical Diary of a Medieval Murderer")
The ending is even more fitting.
The fifteenth shogun was no longer a medieval man. The Muromachi shogunate will end after fifteen generations. Is this the feeling of Sanshiro, who is feeling like Iruka?
Yukio Mishima's prayer, directed in the direction of the day after tomorrow, is strange and incomprehensible.
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