/lit/ - Literature

>>18201444
Start with The Sailor Who Fell From Grace with the Sea, then Confessions of a Mask, then some of those other 50's novels like The Temple of the Golden Pavilion, Sound of Waves, and his many short stories and plays. Don't forget Patriotism as a play and movie. It wouldn't hurt to watch some of the other movies Mishima starred in either. "The Strange Case of Yukio Mishima" is a good documentary.

End with Sun and Steel, and the tetralogy.

>>15983950
No, everyone does in a different way though.

Watch Afraid to Die.

>>15849589

>>15543997
Start with the big four: The Sailor Who Fell From Grace With The Sea, The Sound of Waves, The Temple of the Golden Pavilion and Patriotism. Watch his biography on youtube and his own film adaption of Patriotism as well. You can read Sun and Steel now, as well as the tetralogy.

I'd advise having read a lot of philosophy and literature before doing so however, considering Mishima is very much the last cusp of Western/Eastern literature.

>>14795883
>>14795887
And here is the Mishima extrapolation:

I read Confessions of a Mask because I wanted to further understand the ease of decadence in the artistic-creative drive and "decadence" itself can act as a sustenance for life. Primarily in modernity where in past times have relied upon religion.

The real great men of history however, have aimed only toward the good with their innumerable creative forces, presented the highest forms of life. Or rather beyond life, so much so life-rejecting, the religious; Dante, Bach, Mozart, Goethe, Wagner, to name a few. And now we have Nietzsche, the chief declarer of the secular, who nullifies the modern effect by his constant awareness of it, but this implies to something else, which usually finds its image in the form of God. But Nietzsche of course did not see it in such an image, and so one may question whether he ever truly nullified it. Never the less, it doesn't much matter for this whether he he could keep that other in the world we in inhabit, what has been said of him is enough for the next point. Yukio Mishima; truly unaware of the modern effect perhaps because of his place in the world, and perhaps because of his reaction to the West one may mistake that he in fact was aware, but only has to see his art to know that he was one of the few who experienced it greatest. Among the fact of his novels fitting entirely into the defining modern character of fiction; uneasiness(anxiety), he felt he was forced to create some natural destiny of himself. And this, by natures most affecting ability, he chose the conceptions of death and life, love, hate and such. He chose them within his psyche and so was impressed the artistic struggles(in being unable to explain here; the things which take creative toll on the individual man, so common a result is the "artists personality") onto these things, as well as personal character which for example included for him the vanity of the homosexual, expressed in a homoerotic idolisation of physical beauty, or the sadomasochistic sexual impulse. But overall, the attractive and necessarily tragic decadence of which he dwelled. This caused him to react against any certain purity, from what I can gather of the likes of Christianity. He may even see Bach decadently, in order to justify his value to himself. Where in he obviously cannot be understood, if one does not understand Christianity. But I suppose imagination creates reality, at least for him.

>>14777459
I read Confessions of a Mask because I wanted to further understand the ease of decadence in the artistic-creative drive and "decadence" itself can act as a sustenance for life. Primarily in modernity where in past times have relied upon religion.

The real great men of history however, have aimed only toward the good with their innumerable creative forces, presented the highest forms of life. Or rather beyond life, so much so life-rejecting, the religious; Dante, Bach, Mozart, Goethe, Wagner, to name a few. And now we have Nietzsche, the chief declarer of the secular, who nullifies the modern effect by his constant awareness of it, but this implies to something else, which usually finds its image in the form of God. But Nietzsche of course did not see it in such an image, and so one may question whether he ever truly nullified it. Never the less, it doesn't much matter for this whether he he could keep that other in the world we in inhabit, what has been said of him is enough for the next point. Yukio Mishima; truly unaware of the modern effect perhaps because of his place in the world, and perhaps because of his reaction to the West one may mistake that he in fact was aware, but only has to see his art to know that he was one of the few who experienced it greatest. Among the fact of his novels fitting entirely into the defining modern character of fiction; uneasiness(anxiety), he felt he was forced to create some natural destiny of himself. And this, by natures most affecting ability, he chose the conceptions of death and life, love, hate and such. He chose them within his psyche and so was impressed the artistic struggles(in being unable to explain here; the things which take creative toll on the individual man, so common a result is the "artists personality") onto these things, as well as personal character which for example included for him the vanity of the homosexual, expressed in a homoerotic idolisation of physical beauty, or the sadomasochistic sexual impulse. But overall, the attractive and necessarily tragic decadence of which he dwelled. This caused him to react against any certain purity, from what I can gather of the likes of Christianity. He may even see Bach decadently, in order to justify his value to himself. Where in he obviously cannot be understood, if one does not understand Christianity. But I suppose imagination creates reality, at least for him.

You shouldn't strive to be this man, his psyche is highly interesting, and says much on the creative process. In slight presenting that typical daemonic creativity, "daemonic" because of its possessive quality's. And creative for making use of it. Whether it's good or bad, unconscious or conscious, it is without any moral sense, and because of this the individual is often left to suffer from it. I am hardly saying Mishima had such a case, one can look at him and see he did not, but they are similar things.

>>14756460
I read Confessions of a Mask because I wanted to further understand the ease of decadence in the artistic-creative drive and "decadence" itself can act as a sustenance for life. Primarily in modernity where in past times have relied upon religion.

The real great men of history however, have aimed only toward the good with their innumerable creative forces, presented the highest forms of life. Or rather beyond life, so much so life-rejecting, the religious; Dante, Bach, Mozart, Goethe, Wagner, to name a few. And now we have Nietzsche, the chief declarer of the secular, who nullifies the modern effect by his constant awareness of it, but this implies to something else, which usually finds its image in the form of God. But Nietzsche of course did not see it in such an image, and so one may question whether he ever truly nullified it. Never the less, it doesn't much matter for this whether he he could keep that other in the world we in inhabit, what has been said of him is enough for the next point. Yukio Mishima; truly unaware of the modern effect perhaps because of his place in the world, and perhaps because of his reaction to the West one may mistake that he in fact was aware, but only has to see his art to know that he was one of the few who experienced it greatest. Among the fact of his novels fitting entirely into the defining modern character of fiction; uneasiness(anxiety), he felt he was forced to create some natural destiny of himself. And this, by natures most affecting ability, he chose the conceptions of death and life, love, hate and such. He chose them within his psyche and so was impressed the artistic struggles(in being unable to explain here; the things which take creative toll on the individual man, so common a result is the "artists personality") onto these things, as well as personal character which for example included for him the vanity of the homosexual, expressed in a homoerotic idolisation of physical beauty, or the sadomasochistic sexual impulse. But overall, the attractive and necessarily tragic decadence of which he dwelled. This caused him to react against any certain purity, from what I can gather of the likes of Christianity. He may even see Bach decadently, in order to justify his value to himself. Where in he obviously cannot be understood, if one does not understand Christianity. But I suppose imagination creates reality, at least for him.

You shouldn't strive to be this man, his psyche is highly interesting, and says much on the creative process. In slight presenting that typical daemonic creativity, "daemonic" because of its possessive quality's. And creative for making use of it. Whether it's good or bad, unconscious or conscious, it is without any moral sense, and because of this the individual is often left to suffer from it. I am hardly saying Mishima had such a case, one can look at him and see he did not, but they are similar things.