Destroying Beauty, a suicidal genius: Yukio Mishima under the cherry blossom tree

In the past years, when I read the novel "Kinkaku-ji Temple" by Japanese writer Yukio Mishima, the impression was not very good, and the crazy "destruction beauty" was difficult to understand, just like the "billowing smoke and soaring flames" above kinkaku-ji Temple, the happy mood of the male protagonist after setting the fire and the pleasure of appreciating the fire. Moreover, at that time, Yukio Mishima was still wearing the hat of a militarist writer, which was even more respectable.

Later, I received more than ten volumes of Yukio Mishima's works sent by the Chinese Editor in July, and only after reading them did they change. However, I have always lacked interest in Japanese literature, and Yukio Mishima has no "sympathetic understanding". This concept was actually slightly changed later, such as Hayao Miyazaki, Kenzaburo Oe, Haruki Murakami, Shoji Shimada, Soseki Natsume, Keigo Higashino, Yasunari Kawabata, Mori Ouwai, Ryunosuke Wasagawa, Fujimura Shimazaki, Mizumi, Edogawa, Junichiro Tanizaki, and so on.

Unlike ordinary Japanese writers, Yukio Mishima learned from both classical And Western literature in Japan, and worked particularly hard in novels and dramas, eventually forming his own unique view of literature and politics - living with death, seeing beauty with ugliness, and taking the emperor of culture as the spiritual core, building a lifelong writing position.

The suicide of Yukio Mishima is inevitable, according to the view of Tang Yuemei, a researcher on Mishima. Its spiritual world cannot accept Japan's post-war modern view of democracy, but advocates a nationalist aesthetic view in order to change the status quo in Japan. However, Yukio Mishima was essentially a man of letters.

Death has always been the main theme of Yukio Mishima's writing world, and the praise of fierce death flows between its lines, like the raging flame of Kinkaku-ji Temple. Sometimes, I think that Japanese literature has a lot of weird writing, and it is often different. What makes people melancholy and uplifting is poisonous. The works of Yukio Mishima can probably be viewed as such.

For example, "Chao Sao", the love of youth, the love without any impurities, is Mishima's consistent style, and it is written with a unique sense of beauty. However, this novel reminds me of a sentence that was said by a predecessor: "When two people fall in love, when they feel that they are a natural pair, that is the time for them to cherish each other and part ways." Because if they continue to develop, they will lose everything and gain nothing. Perhaps another work in Mishima, "Spring Snow", is confirmed by this.

As a "dynastic love novel", "Spring Snow" presents a "weak and delicate or peaceful soul", full of decadence and sentimentality unique to Japanese culture. With an extreme beauty, the narrative arrives at "elegant forbidden" and "blasphemous pleasure". At the end of the novel, it is written: "Hondo pondered: Qing Xian's dream was to drift to his own courtyard, and the dream undoubtedly depicted the scenery of the nine waterfalls in the corner of the marquis's wide garden. Two days after returning to Tokyo, Kiyohide Matsueda passed away. He was only twenty years old. "The so-called beauty of spring snow, the death of abundance." Like the romantic cherry blossoms, the fall of the british at the flick of a finger leaves a momentary joy.