I've been going through something of a Yukio Mishima phase again recently. I did once before, many years ago, until a cursory read of his biography saw me dismiss him as deeply flawed, and in his fascination with violence, perhaps more ugly than beautiful.
But I am having second thoughts. I don't think I will ever condone his suicide—it bespeaks to me ultimately of selfishness, and short-sightedness, and for one so enamoured of the virtues of duty, strength, sacrifice and courage—the forgotten“bushido” code of the Samurai—even of weakness.
He was a man who cared passionately for his country, and his pronouncement that she would gain little satisfaction through her headlong rush for material prosperity has been more than vindicated, yet it seems common sense to say that he would have been better placed to make his point living rather than dead. His word alone was newsworthy, and as one once connected to the wife of the Emperor and personal friend of the Prime Minister, he moved in circles that suggested a career in politics was there for the taking should he have wished.
So his death can only be seen as a waste; his desire to live his life as a poem and die by the code of bushido ultimately a vain, selfish act that more served himself than the greater good.
Still though, I find much to admire in his written and lived ideals, and it should be emphasised in Mishima's case that they were always lived—his death the ultimate example of that. He prided himself on turning ideas into action, a form of self-abnegation in which he sought to erase, in his view, the effeminate, ineffective intellectual of his youth, by becoming a man of strength and action.
And I can’t help but secretly admire, half in horror half in awe, his final, mis-guided act, and the un-imaginable courage—or insanity —it must have taken to do such a thing. Almost completely un-heard of now, seppukku was near common-place in pre-modern Japan; Mishima’s however was the first recorded of the post-war era.
In the short excerpt that follows, some will see simply an idealisation of self-destruction, and in the tale of a pre-war army officer, a glorifying of the militarism that so led Japan astray. But that would only be a shallow reading of the story, very much incomplete.
is a celebration of death, but not in a negative, destructive sense. Rather it celebrates the death of an army officer and his wife as the ultimate form of sacrifice—his death for belief and country; her death for him—the wife takes her husband’s beliefs as her own. Patriotism
asks the question “what if?”—what if the sacrifice of 1936 Niniroku Jiken
uprising, of which this real life army officer was a part, hadn't been in vain, if this last stand against the faction in favour of western style militarism and imperialism—forces incidentally which the “rightist” Mishima saw as negative, “un-Japanese” imports—had been successful.
With the restoration of the spirit of bushido to the army, and its spirit of sacrifice and honour, of true service to the greater good, the destructive war with America might have been averted—a war which very near totally destroyed Japan outwardly, and, in Mishima’s view, in the occupation that followed, with its enforced constitution, robbed her inwardly of half her essence—the sword no longer beside the chrysanthemum.
Mishima saw Japan as having lost her spiritual values, and in her excessive materialism, dying slowly from a “tediousness” and “insipidness” of the soul. Sadly, although largely proved correct, he left the earthly stage prematurely, and with surely much still to contribute.
It is perhaps worth saying that his criticism of Japan is hardly unique to Japan; the whole world would do well to heed this warning near forty years old against materialism unchecked.