Yukio Mishima
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Yukio Mishima
Yukio Mishima
Yukio Mishima cropped.jpg
Mishima in 1956
Born
Kimitake Hiraoka

(1925-01-14)January 14, 1925
Nagazumi-cho 2-chome, Yotsuya-ku, Tokyo City, Tokyo Prefecture, Empire of Japan
(Current: Yotsuya 4-chome, Shinjuku-ku, Tokyo, Japan)
DiedNovember 25, 1970(1970-11-25) (aged 45)
JGSDF Camp Ichigaya
Ichigaya Honmura-ch?, Shinjuku, Tokyo, Japan
Cause of deathSuicide by Seppuku
Resting placeTama Cemetery, Tokyo
Alma materFaculty of Law, University of Tokyo
Occupation
  • Novelist
  • playwright
  • poet
  • short-story writer
  • essayist
  • critic
Notable work
Confessions of a Mask, The Temple of the Golden Pavilion, The Sea of Fertility
Japanese name
Kanji
Hiragana
Katakana
Japanese name
Kanji
Hiragana? ?
Katakana? ?
Signature
Yukio Mishima signature.png

Yukio Mishima[a] ( , Mishima Yukio, January 14, 1925 – November 25, 1970), born Kimitake Hiraoka ( , Hiraoka Kimitake) was a Japanese author, poet, playwright, actor, model, Shintoist, nationalist, and founder of the Tatenokai (, "Shield Society"), an unarmed civilian militia. Mishima is considered one of the most important Japanese authors of the 20th century. He was considered for the Nobel Prize in Literature in 1968, but the award went to his countryman and benefactor Yasunari Kawabata.[5] His works include the novels Confessions of a Mask (, Kamen no kokuhaku) and The Temple of the Golden Pavilion (, Kinkaku-ji), and the autobiographical essay "Sun and Steel" (?, Taiy? to tetsu). Mishima's work is characterized by "its luxurious vocabulary and decadent metaphors, its fusion of traditional Japanese and modern Western literary styles, and its obsessive assertions of the unity of beauty, eroticism and death".[6]

Mishima's political activities were controversial, and he remains a controversial figure in modern Japan.[7][8][9][10] Ideologically, Mishima was a right-winger who extolled the traditional culture and spirit of Japan. He opposed what he saw as western-style materialism, along with Japan's postwar democracy, globalism, and communism, worrying that by embracing these ideas the Japanese people would lose their "national essence" (kokutai) and their distinctive cultural heritage (Shinto and Yamato-damashii) to become a "rootless" people.[11][12][13][14] Mishima formed the Tatenokai for the avowed purpose of restoring sacredness and dignity to the Emperor of Japan.[12][13][14] On November 25, 1970, Mishima and four members of his militia entered a military base in central Tokyo, took its commandant hostage, and tried to inspire the Japan Self-Defense Forces to rise up and overthrow Japan's 1947 Constitution, which he called "a constitution of defeat".[14][11] When his attempt failed, he committed seppuku.

Life and work

Early life

Mishima in his childhood (April 1931, at the age of 6)

Kimitake Hiraoka (?, Hiraoka Kimitake), later known as Yukio Mishima (, Mishima Yukio), was born in Nagazumi-cho, Yotsuya-ku of Tokyo City (now part of Yotsuya, Shinjuku-ku, Tokyo). His father was Azusa Hiraoka (), a government official, and his mother, Shizue (), was the daughter of the 5th principal of the Kaisei Academy. Shizue's father, Kenz? Hashi (), was a scholar of the Chinese classics, and the Hashi family had served the Maeda clan for generations in Kaga Domain. Mishima's paternal grandparents were Sadatar? Hiraoka () and Natsuko (family register name: Natsu) (?). Mishima received his birth name Kimitake (, also read K?i in on-yomi) in honor of Furuichi K?i (?) who was a benefactor of Sadatar?.[15] He had a younger sister, Mitsuko (), who died of typhus in 1945 at the age of 17, and a younger brother, Chiyuki ().[16][17]

Mishima's early childhood was dominated by the presence of his grandmother, Natsuko, who took the boy and separated him from his immediate family for several years.[18] She was the granddaughter of Matsudaira Yoritaka (?), the daimy? of Shishido, which was a branch domain of Mito Domain in Hitachi Province;[b] therefore, Mishima was a direct descendant of the founder of the Tokugawa Shogunate Tokugawa Ieyasu (?) through his grandmother.[19][20][21] Natsuko's father, Nagai Iwanoj? (), had been a Supreme Court justice, and Iwanoj?'s adoptive father, Nagai Naoyuki (?), had been a bannerman of the Tokugawa House during the Bakumatsu.[19] Natsuko had been raised in the household of Prince Arisugawa Taruhito, and she maintained considerable aristocratic pretensions even after marrying Sadatar?, a bureaucrat who had made his fortune in the newly opened colonial frontier in the north, and who eventually became Governor-General of Karafuto Prefecture on Sakhalin Island.[22] Sadatar?'s father, Takichi Hiraoka (?), and grandfather, Tazaemon Hiraoka (), had been farmers.[19][c] Natsuko was prone to violent outbursts, which are occasionally alluded to in Mishima's works,[24] and to whom some biographers have traced Mishima's fascination with death.[25] She did not allow Mishima to venture into the sunlight, engage in any kind of sport, or play with other boys. He spent much of his time either alone or with female cousins and their dolls.[26][24]

Mishima returned to his immediate family when he was 12. His father Azusa had a taste for military discipline, and worried Natsuko's style of childrearing was too soft. When Mishima was an infant, Azusa employed parenting tactics such as holding Mishima up to the side of a speeding train. He also raided his son's room for evidence of an "effeminate" interest in literature, and often ripped his son's manuscripts apart.[27] Although Azusa forbade him to write any further stories, Mishima continued to write in secret, supported and protected by his mother, who was always the first to read a new story.[27]

When Mishima was 13, Natsuko took him to see his first Kabuki play: Kanadehon Ch?shingura, an allegory of the story of the 47 R?nin. He was later taken to his first Noh play (Miwa, a story featuring Amano-Iwato) by his maternal grandmother Tomi Hashi (). From these early experiences, Mishima became addicted to Kabuki and Noh. He began attending performances every month and grew deeply interested in these traditional Japanese dramatic art forms.[28]

Schooling and early works

Mishima's self-portrait drawn in junior high school

Mishima was enrolled at the age of six in the elite Gakush?in, the Peers' School in Tokyo, which had been established in the Meiji period to educate the Imperial family and the descendants of the old feudal nobility.[29] At twelve, Mishima began to write his first stories. He read myths (Kojiki, Greek mythology, etc.) and the works of numerous classic Japanese authors as well as Raymond Radiguet, Jean Cocteau, Oscar Wilde, Rainer Maria Rilke, Thomas Mann, Friedrich Nietzsche, Charles Baudelaire, l'Isle-Adam, and other European authors in translation. He also studied German. After six years at school, he became the youngest member of the editorial board of its literary society. Mishima was attracted to the works of the Japanese poet Shizuo It? (?, It? Shizuo), poet and novelist Haruo Sat? (?), and poet Michiz? Tachihara (?), who inspired Mishima's appreciation of classical Japanese waka poetry. Mishima's early contributions to the Gakush?in literary magazine Hojinkai-zasshi () included haiku and waka poetry before he turned his attention to prose.[30]

In 1941, at the age of 16, Mishima was invited to write a short story for the Hojinkai-zasshi, and he submitted Forest in Full Bloom (, Hanazakari no Mori), a story in which the narrator describes the feeling that his ancestors somehow still live within him. The story uses the type of metaphors and aphorisms that would later become Mishima's trademarks.[d] He mailed a copy of the manuscript to his Japanese teacher Fumio Shimizu (?) for constructive criticism. Shimizu was so impressed that he took the manuscript to a meeting of the editorial board of the prestigious literary magazine Bungei Bunka (?), of which he was a member. At the editorial board meeting, the other board members read the story and were very impressed; they congratulated themselves for discovering a genius and published it in the magazine. The story was later published as a limited book edition (4,000 copies) in 1944 due to a wartime paper shortage. Mishima had it published as a keepsake to remember him by, as he assumed that he would die in the war. [33][27]

In order to protect him from potential backlash from Azusa, Shimizu and the other editorial board members coined the pen-name Yukio Mishima.[34] They took "Mishima" from Mishima Station, which Shimizu and fellow Bungei Bunka board member Zenmei Hasuda (?) passed through on their way to the editorial meeting, which was held in Izu, Shizuoka. The name "Yukio" came from yuki (?), the Japanese word for "snow," because of the snow they saw on Mount Fuji as the train passed by.[34] In the magazine, Hasuda praised Mishima's genius as follows:

This youthful author is a heaven-sent child of eternal Japanese history. He is much younger than we are, but has arrived on the scene already quite mature.[35]

Hasuda, who became something of a mentor to Mishima, was an ardent nationalist and a fan of Motoori Norinaga (1730-1801), an scholar of kokugaku from the Edo period who preached Japanese traditional values and devotion to the Emperor.[36] Hasuda had previously fought for the Imperial Japanese Army in China in 1938, and in 1943 he was recalled to active service for deployment as a first lieutenant in the Southeast Asian theater.[37] At a farewell party thrown for Hasuda by the Bungei Bunka group, Hasuda offered the following parting words to Mishima:

I have entrusted the future of Japan to you.

According to Mishima, these words were deeply meaningful to him, and had a profound effect on the future course of his life.[38][39][40]

Later in 1941, Mishima wrote in his notebook an essay about his deep devotion to Shint?, entitled The Way of the Gods (?, Kannagara no michi).[41] Mishima's story The Cigarette (, Tabako), published in 1946, describes a homosexual love he felt at school and being teased from members of the school's rugby union club because he belonged to the literary society. Another story from 1954, The Boy Who Wrote Poetry (, Shi o kaku sh?nen), was also based on Mishima's memories of his time at Gakush?in Junior High School.[42]

On September 9, 1944, Mishima graduated Gakush?in High School at the top of the class, and became a graduate representative.[43][44] Emperor Hirohito was present at the graduation ceremony, and Mishima later received a silver watch from the Emperor at the Imperial Household Ministry.[43][44][45][46]

On April 27, 1944, during the final years of World War II, Mishima received a draft notice for the Imperial Japanese Army and barely passed his conscription examination on May 16, 1944, with a less desirable rating of "second class" conscript. He had a cold during his medical check on convocation day (February 10, 1945), and the young army doctor misdiagnosed Mishima with tuberculosis, declared him unfit for service, and sent him home.[47][27] Scholars have argued that Mishima's failure to receive a "first class" rating on his conscription exam (reserved only for the most physically fit recruits), in combination with the illness which led him to be erroneously declared unfit for duty, contributed to an inferiority complex over his frail constitution that later led to his obsession with physical fitness and bodybuilding.[48]

The day before his failed medical exam, Mishima wrote a farewell message to his family, ending with the words "Long live the Emperor!" (, Tenn? heika banzai), and prepared clippings of his hair and nails to be kept as mementos by his parents.[27][49] The troops of the unit that Mishima was supposed to have joined were sent to the Philippines, where most of them were killed.[47] Mishima's parents were ecstatic that he did not have to go to war, but Mishima's mood was harder to read; Mishima's mother overheard him say he wished he could have joined a "Special Attack" (, tokk?) unit.[27] Around that time, Mishima admired kamikaze pilots and other "special attack" units in letters to friends and private notes.[43][50][51]

Mishima was deeply affected by Emperor Hirohito's radio broadcast announcing Japan's surrender on August 15, 1945, and vowed to protect Japanese cultural traditions and help rebuild Japanese culture after the destruction of the war.[52] He wrote in his diary:

Only by preserving Japanese irrationality will we be able contribute to world culture 100 years from now.[53]

Mishima at age 19, with his sister at age 16
(on 9 September 1944)

On August 19, four days after Japan's surrender, Mishima's mentor Zenmei Hasuda, who had been drafted and deployed to the Malay peninsula, shot and killed a superior officer for criticizing the Emperor before turning his pistol on himself. Mishima learned of the incident a year later and contributed poetry in Hasuda's honor at a memorial service in November 1946.[54] On October 23, 1945 (Showa 20), Mishima's beloved younger sister Mitsuko died suddenly at the age of 17 from typhoid fever by drinking untreated water.[27][55] Around that same time he also learned that Kuniko Mitani (?), the sister of a classmate whom he had hoped to marry, was engaged to another man.[56][57][e] These tragic incidents in 1945 became a powerful motive force in inspiring Mishima's future literary work.[59]

At the end of the war, his father Azusa "half-allowed" Mishima to become a novelist. He was worried that his son could actually become a professional novelist, and hoped instead that his son would be a bureaucrat like himself and Mishima's grandfather Sadatar?. He advised his son to enroll in the Faculty of Law instead of the literature department.[27] Attending lectures during the day and writing at night, Mishima graduated from the University of Tokyo in 1947. He obtained a position in the Ministry of the Treasury and seemed set up for a promising career as a government bureaucrat. However, after just one year of employment Mishima had exhausted himself so much that his father agreed to allow him to resign from his post and devote himself to writing full time.[27] In 1945, Mishima began the short story A Story at the Cape (, Misaki nite no Monogatari) and continued to work on it through the end of World War II. After the war, it was praised by Shizuo It? whom Mishima respected.[60]

Post-war literature

Mishima with his cat
("Asahi Graph" May 12, 1948 issue)
He was known as a cat lover.

After Japan's defeat in World War II, the country was occupied by the U.S.-led Allied Powers. At the urging of the occupation authorities, many people who held important posts in various fields were purged from public office. The media and publishing industry were also censored, and were not allowed to engage in forms of expression reminiscent of wartime Japanese nationalism.[f] In addition, literary figures, including many of those who had been close to Mishima before the end of the war, were branded "war criminal literary figures". Some people denounced them and converted to left-wing politics, whom Mishima criticized as "opportunists" in his letters to friends.[63][64][65] Some prominent literary figures became leftists, and joined the Communist Party as a reaction against wartime militarism and writing socialist realist literature that might support the cause of socialist revolution.[66] Their influence had increased in the Japanese literary world following the end of the war, which Mishima found difficult to accept. Although Mishima was just 20 years old at this time, he worried that his type of literature, based on the 1930s Japanese Romantic School (, "Nihon R?man Ha"), had already become obsolete.[28]

Mishima had heard that famed writer Yasunari Kawabata had praised his work before the end of the war. Uncertain of who else to turn to, Mishima took the manuscripts for The Middle Ages (, Ch?sei) and The Cigarette (, Tabako) with him, visited Kawabata in Kamakura, and asked for his advice and assistance in January 1946.[28] Kawabata was impressed, and in June 1946, following Kawabata's recommendation, "The Cigarette" was published in the new literary magazine Ningen (, "Humanity"), followed by "The Middle Ages" in December 1946.[67] "The Middle Ages" is set in Japan's historical Muromachi Period and explores the motif of shud? (, man-boy love) against a backdrop of the death of the ninth Ashikaga shogun Ashikaga Yoshihisa (?) in battle at the age of 25, and his father Ashikaga Yoshimasa (?)'s resultant sadness. The story features the fictional character Kikuwaka, a beautiful teenage boy who was beloved by both Yoshihisa and Yoshimasa, who fails in an attempt to follow Yoshihisa in death by committing suicide. Thereafter, Kikuwaka devotes himself to spiritualism in an attempt to heal Yoshimasa's sadness by allowing Yoshihisa's ghost to possess his body, and eventually dies in a double-suicide with a shrine maiden who falls in love with him. Mishima wrote the story in an elegant style drawing upon medieval Japanese literature and the Ry?jin Hish?, a collection of medieval imay? songs. This elevated writing style and the homosexual motif suggest the germ of Mishima's later aesthetics.[67] Later in 1948 Kawabata, who praised this work, published an essay describing his experience of falling in love for the first time with a boy two years his junior.[68]

Mishima at age of 28
(in January 1953)

In 1946, Mishima began his first novel, Thieves (, T?zoku), a story about two young members of the aristocracy drawn towards suicide. It was published in 1948, and placed Mishima in the ranks of the Second Generation of Postwar Writers. The following year, he published Confessions of a Mask (, Kamen no kokuhaku), a semi-autobiographical account of a young homosexual man who hides behind a mask to fit into society. The novel was extremely successful and made Mishima a celebrity at the age of 24. Around 1949, Mishima also published a literary essay about Kawabata, for whom he had always held a deep appreciation, in Kindai Bungaku (?).[69]

Mishima enjoyed international travel. In 1952 he took a world tour and published his travelogue as The Cup of Apollo (, Aporo no Sakazuki). He visited Greece during his travels, a place which had fascinated him since childhood. His visit to Greece became the basis for his 1954 novel The Sound of Waves (, Shiosai), which drew inspiration from the Greek legend of Daphnis and Chloe. The Sound of Waves, set on the small island of "Kami-shima" where a traditional Japanese lifestyle continued to be practiced, depicts a pure, simple love between a fisherman and a female pearl and abalone diver (, ama). Although the novel became a best-seller, leftists criticized it for "glorifying old-fashioned Japanese values", and some people began calling Mishima a "fascist".[70][71][72] Looking back on these attacks in later years, Mishima wrote, "The ancient community ethics portrayed in this novel were attacked by progressives at the time, but no matter how much the Japanese people changed, these ancient ethics lurk in the bottom of their hearts. We have gradually seen this proven to be the case."[73]

Yukio Mishima (lower) with Shintaro Ishihara in 1956
(At the roof of the Bungeishunj? Building in Ginza 6-chome)

Mishima made use of contemporary events in many of his works. The Temple of the Golden Pavilion (, Kinkaku-ji), published in 1956, is a fictionalization of the burning down of the Kinkaku-ji Buddhist temple in Kyoto in 1950 by a mentally disturbed monk.[74]

In 1959, Mishima published the artistically ambitious novel Ky?ko no Ie (Ky?ko's house) (?, Ky?ko no Ie). The novel tells the interconnected stories of four young men who represented four different facets of Mishima's personality. His athletic side appears as a boxer, his artistic side as a painter, his narcissistic, performative side as an actor, and his secretive, nihilistic side as a businessman who goes through the motions of living a normal life while practicing "absolute contempt for reality". According to Mishima, he was attempting to describe the time around 1955 in the novel, when Japan was entering into its era of high economic growth and the phrase "The postwar is over" was prevalent.[g] Mishima explained, "Ky?ko no Ie is, so to speak, my research into the nihilism within me."[76][77] Although the novel was well received by a small number of critics from the same generation as Mishima and sold 150,000 copies in a month, it was widely panned in broader literary circles,[78][79] and was rapidly branded as Mishima's first "failed work".[80][79] It was Mishima's first major setback as an author, and the book's disastrous reception came as a harsh psychological blow.[81][82]

Many of Mishima's most famous and highly regarded works were written prior to 1960. However, until that year he had not written works that were seen as especially political.[83] In the summer of 1960, Mishima became interested in the massive Anpo Protests against an attempt by U.S.-backed Prime Minister Nobusuke Kishi to revise the Treaty of Mutual Cooperation and Security Between the United States and Japan (known as "Anpo" in Japanese) in order to cement the U.S.-Japan military alliance into place.[84] Although he did not directly participate in the protests, he often went out in the streets to observe the protestors in action and kept extensive newspaper clipping covering the protests.[83] In June 1960, at the climax of the protest movement, Mishima wrote a commentary in the Mainichi Shinbun newspaper, entitled "A Political Opinion".[85] In the critical essay, he argued that leftist groups such as the Zengakuren student federation, the Socialist Party, and the Communist Party were falsely wrapping themselves banner of "defending democracy" and using the protest movement to further their own ends. Mishima warned against the dangers of the Japanese people following ideologues who told lies with honeyed words. Although Mishima criticized Kishi as a "nihilist" who had subordinated himself to the United States, Mishima concluded that he would rather vote for a strong-willed realist "with neither dreams nor despair" than a mendacious but eloquent ideologue.[86]

Shortly after the Anpo Protests ended, Mishima began writing one of his most famous short stories, Patriotism (, Y?koku), glorifying the actions of a young right-wing ultranationalist Japanese army officer who commits suicide after a failed revolt against the government during the February 26 Incident.[85] The following year, he published the first two parts of his three-part play Tenth-Day Chrysanthemum (?, T?ka no kiku), which celebrates the actions of the February 26 revolutionaries.[85]

Mishima's newfound interest in contemporary politics shaped his novel After the Banquet (?, Utage no ato), also published in 1960, which closely followed the events surrounding politician Hachir? Arita's campaign to become governor of Tokyo that Mishima was sued for invasion of privacy.[87] The next year, Mishima published The Frolic of the Beasts (?, Kemono no tawamure), a parody of the classical Noh play Motomezuka,written in the 14th-century playwright Kiyotsugu Kan'ami. In 1962, Mishima produced his most artistically avant-garde work,A Beautiful Star (?, Utsukushii hoshi), which at times comes close to science fiction. Although the novel received mixed reviews from the literary world, prominent critic Takeo Okuno singled it out for praise as part of a new breed of novels that was overthrowing longstanding literary conventions in the tumultuous aftermath of the Anpo Protests. Alongside K?b? Abe's Woman of the Dunes (, Suna no onna), published that same year, Okuno considered A Beautiful Star an "epoch-making work" which broke free of literary taboos and preexisting notions of what literature should be in order to explore the author's personal creativity.[88]

In 1965, Mishima wrote the play Madame de Sade (, Sado k?shaku fujin) that explores the complex figure of the Marquis de Sade, traditionally upheld as an exemplar of vice, through a series of debates between six female characters, including the Marquis' wife, the Madame de Sade. At the end of the play, Mishima offers his own interpretation of what he considered to be one of the central mysteries of the de Sade story--the Madame de Sade's unstinting support for her husband while he was in prison and her sudden decision to renounce him upon his release.[89][90] Mishima's play was inspired in part by his friend Tatsuhiko Shibusawa's 1960 Japanese translation of the Marquis de Sade's novel Juliette and a 1964 biography Shibusawa wrote of de Sade.[91] Shibusawa's sexually explicit translation became the focus of a sensational obscenity trial remembered in Japan as the "Sade Case" (?, Sado saiban), which was ongoing as Mishima wrote the play.[92] In 1994, Madame de Sade was evaluated as the "greatest drama in the history of postwar theater" by Japanese theater criticism magazine Theater Arts.[93][94]

Mishima was considered for the Nobel Prize for Literature in 1963, 1964, and 1965,[95] and was a favorite of many foreign publications.[96] However, in 1968 his early mentor Kawabata won the Nobel Prize and Mishima realized that the chances of it being given to another Japanese author in the near future were slim.[97] In a work published in 1970, Mishima wrote that the writers he paid most attention to in modern western literature were Georges Bataille, Pierre Klossowski, and Witold Gombrowicz.[98]

Acting and modelling

Mishima was also an actor, and starred in Yasuzo Masumura's 1960 film, Afraid to Die (, Karakkaze yar?), and also performed in films like Patriotism or the Rite of Love and Death (, Y?koku, directed by himself, 1966), Black Lizard (, Kurotokage, directed by Kinji Fukasaku, 1968) and Hitokiri (, directed by Hideo Gosha, 1969). He also sang the theme song for Afraid to Die (lyrics by himself; music by Shichir? Fukazawa).[99][100]

Mishima was featured as the photo model in photographer Eikoh Hosoe's book Bara-kei (, Ba-ra-kei: Ordeal by Roses), as well as in Tamotsu Yat?'s photobooks Young Samurai: Bodybuilders of Japan (~, Taid?: Nihon no bodybuilder tachi) and Otoko: Photo Studies of the Young Japanese Male (?, Otoko). American author Donald Richie gave an eyewitness account of seeing Mishima, dressed in a loincloth and armed with a sword, posing in the snow for one of Tamotsu Yat?'s photoshoots.[101]

In the men's magazine Heibon Punch (), to which Mishima had contributed various essays and criticisms, he won first place in the "Mr. Dandy" reader popularity poll in 1967 with 19,590 votes, beating second place Toshiro Mifune by 720 votes.[102] In the next reader popularity poll, "Mr. International", Mishima ranked second behind French President Charles de Gaulle.[102] At that time in the late 1960s, Mishima was the first celebrity to be described as a "superstar" (s?p?sut?) by the Japanese media.[103]

Private life

Mishima at age 30 in his garden
(An autumn day in 1955)

In 1955, Mishima took up weight training to overcome the inferiority complex about his weak constitution, and his strictly-observed workout regimen of three sessions per week was not disrupted for the final 15 years of his life. In his 1968 essay Sun and Steel (?, Taiy? to tetsu),[104] Mishima deplored the emphasis given by intellectuals to the mind over the body. He later became very skilled (5th Dan) at kendo (traditional Japanese swordsmanship), and became 2nd Dan in batt?jutsu, and 1st Dan in karate. In 1956, he tried boxing for a short period of time. In the same year, he developed an interest in UFOs and became a member of the Japan Flying Saucer Research Association (?, Nihon soratobu enban kenkyukai).[105] In 1954, he fell in love with Sadako Toyoda (?), who became the model for main characters in The Sunken Waterfall (?, Shizumeru taki) and The Seven Bridges (?, Hashi zukushi).[106][107] Mishima hoped to marry her, but they broke up in 1957.[55][108]

After briefly considering marriage with Michiko Sh?da (), who later married Crown Prince Akihito and became Empress Michiko),[109] Mishima married Y?ko (, née Sugiyama), the daughter of Japanese-style painter Yasushi Sugiyama (), on June 1, 1958. The couple had two children: a daughter named Noriko () (born June 2, 1959) and a son named Iichir? () (born May 2, 1962).[110]

While working on his novel Forbidden Colors (, Kinjiki), Mishima visited gay bars in Japan.[111] Mishima's sexual orientation was an issue that bothered his wife, and she always denied his homosexuality after his death.[112] In 1998, the writer Jir? Fukushima (?) published an account of his relationship with Mishima in 1951, including fifteen letters (not love letters) from the famed novelist.[113] Mishima's children successfully sued Fukushima and the publisher for copyright violation over the use of Mishima's letters.[114][113][115] Publisher Bungeishunj? had argued that the contents of the letters were "practical correspondence" rather than copyrighted works. However, the ruling for the plaintiffs declared, "In addition to clerical content, these letters describe the Mishima's own feelings, his aspirations, and his views on life, in different words from those in his literary works."[116][h]

In February 1961, Mishima became embroiled in the aftermath of the Shimanaka incident (?, Shimanaka Jiken). In 1960, the author Shichir? Fukazawa (?) had published the satirical short story The Tale of an Elegant Dream (?, F?ry? Mutan) in the mainstream magazine Ch K?ron. It contained a dream sequence (in which the Emperor and Empress are beheaded by a guillotine) that led to outrage from right-wing ultra-nationalist groups, and numerous death threats against Fukazawa, any writers believed to have been associated with him, and Ch K?ron magazine itself.[119] On February 1, 1961, Kazutaka Komori (?), a seventeen-year-old rightist, broke into the home of H?ji Shimanaka (?), the president of Ch K?ron, killed his maid with a knife and severely wounded his wife.[120] In the aftermath, Fukazawa went into hiding, and dozens of writers and literary critics, including Mishima, were provided with round-the-clock police protection for several months;[121] Mishima was included because a rumor that Mishima had personally recommended "The Tale of an Elegant Dream" for publication became widespread, and even though he repeatedly denied the claim, he received hundreds of death threats.[121]In later years, Mishima harshly criticized Komori, arguing that those who harm women and children are neither patriots nor traditional right-wingers, and that an assassination attempt should be a one-on-one confrontation with the victim at the risk of the assassin's life. Mishima also argued that it was the custom of traditional Japanese patriots to immediately commit suicide after committing an assassination.[122]

In 1963, the Harp of Joy Incident occurred within the theatrical troupe Bungakuza (), to which Mishima belonged. He wrote a play called The Harp of Joy (?, Yorokobi no koto), but star actress Haruko Sugimura (?) and other Communist Party-affiliated actors refused to perform because the protagonist held anti-communist views and mentioned criticism about a conspiracy of world communism in his lines. As a result of this ideological conflict, Mishima quit Bungakuza and later formed the troupe Neo Littérature Théâtre (NLT, Gekidan NLT) with playwrights and actors who had quit Bungakuza along with him, including Seiichi Yashio (?), Takeo Matsuura (?), and Nobuo Nakamura (?). When Neo Littérature Théâtre experienced a schism in 1968, Mishima formed another troupe, the Roman Theatre (?, R?man Gekij?), and worked Matsuura and Nakamura again.[123][124][125]

During the Tokyo Olympics in 1964, Mishima interviewed various athletes every day and wrote articles as a newspaper correspondent.[126][127] He had eagerly anticipated the long-awaited return of the Olympics to Japan after the 1940 Tokyo Olympics were cancelled due to Japan's war in China. Mishima expressed his excitement in his report on the opening ceremonies: "It can be said that ever since Lafcadio Hearn called the Japanese "the Greeks of the Orient," the Olympics were destined to be hosted by Japan someday."[128]

Mishima hated Ryokichi Minobe, who was a communist and the governor of Tokyo beginning in 1967.[129] Influential persons in the conservative Liberal Democratic Party (LDP), including Takeo Fukuda and Kiichi Aichi, had been Mishima's superiors during his time at the Ministry of the Treasury, and Prime Minister Eisaku Sat? came to know Mishima because his wife, Hiroko, was a fan of Mishima's work. Based on these connections LDP officials solicited Mishima to run for the LDP as governor of Tokyo against Minobe, but Mishima had no intention of becoming a politician.[129]

Mishima was fond of manga and gekiga, especially the drawing style of Hiroshi Hirata (?), a mangaka best known for his samurai gekiga; the slapstick, absurdist comedy in Fujio Akatsuka's M?retsu Atar? (?), and the imaginativeness of Shigeru Mizuki's GeGeGe no Kitar? (?).[130][131] Mishima especially loved reading the boxing manga Ashita no Joe (?, "Tomorrow's Joe") in Weekly Sh?nen Magazine every week.[132][i]Ultraman and Godzilla were his favorite kaiju fantasies, and he once compared himself to "Godzilla's egg" in 1955.[133][134] On the other hand, he disliked story manga with humanist or cosmopolitan themes, such as Osamu Tezuka's Phoenix (, Hi no tori).[130][131]

Mishima considered himself a fan of science fiction, contending that "science fiction will be the first literature to completely overcome modern humanism".[135] He praised Arthur C. Clarke's Childhood's End in particular. While acknowledging "inexpressible unpleasant and uncomfortable feelings after reading it," he declared, "I'm not afraid to call it a masterpiece."[136]

Mishima traveled to Shimoda on the Izu Peninsula with his wife and children every summer from 1964 onwards.[137][138] In Shimoda, Mishima often enjoyed eating local seafood with his friend Henry Scott-Stokes.[138] Mishima never showed any hostility towards the US in front of foreign friends like Scott-Stokes, until Mishima heard that the name of the inn where Scott-Stokes was staying was Kurofune (lit. 'black ship'), at which point his voice suddenly became low and he said in a sullen manner, "Why? Why do you stay at a place with such a name?". Mishima liked ordinary American people after the war, and he and his wife had even visited Disneyland as newlyweds. However, he clearly retained a strong sense of hostility toward the "black ships" of Commodore Matthew C. Perry, who forcibly opened Japan up to unequal international relations at the end of the Edo period, and had destroyed the peace of Edo, where vivid ch?nin culture was flourishing.[138]

Harmony of Pen and Sword

Mishima's nationalism grew towards the end of his life. In 1966, he published his short story The Voices of the Heroic Dead (?, Eirei no koe), in which he denounced Emperor Hirohito for renouncing his own divinity after World War II. He argued that the soldiers who had died in the February 26 Incident (, Ni-Ni-Roku Jiken) and the Japanese Special Attack Units (, Tokk?tai) had died for their "living god" Emperor, and that Hirohito's renounciation of his own divinity meant that all those deaths had been in vain. Mishima said that His Majesty had been become a human when he should be a God.[139][140]

In February 1967, Mishima joined fellow authors Yasunari Kawabata, K?b? Abe, and Jun Ishikawa in issuing a statement condemning China's Cultural Revolution for suppressing academic and artistic freedom.[141][142] However, only one Japanese newspaper carried the full text of their statement.[143]

In September 1967 Mishima and his wife visited India at the invitation of the Indian government. He traveled widely and met with Prime Minister Indira Gandhi and President Zakir Hussain.[144] He left extremely impressed by Indian culture, and what he felt was the Indian people's determination to resist Westernization and protect traditional ways.[145] Mishima feared that his fellow Japanese were too enamored with modernization and western-style materialism to protect traditional Japanese culture.[146] While in New Delhi, he spoke at length with an unnamed colonel in the Indian Army who had experienced skirmishes with Chinese troops on the Sino-Indian border. The colonel warned Mishima of the strength and fighting spirit of the Chinese troops. Mishima later spoke of his sense of danger regarding what he perceived to be a lack of concern in Japan about the need to bolster Japan's national defense against the threat from Communist China.[147][148][j] On his way home from India, Mishima also stopped in Thailand and Laos; his experiences in the three nations became the basis for portions of his novel The Temple of Dawn (, Akatsuki no tera), the third in his tetralogy The Sea of Fertility (?, H?j? no Umi).[150]

In 1968, Mishima wrote a play called My Friend Hitler (, Waga tomo Hittor?), in which he depicted the historical figures of Adolf Hitler, Gustav Krupp, Gregor Strasser, and Ernst Röhm as mouthpieces to express his own views on fascism and beauty.[83] Mishima explained that after writing the all-female play Madame de Sade, he wanted to write a counterpart play with an all-male cast.[151] Mishima wrote of My Friend Hitler, "You may read this tragedy as an allegory of the relationship between ?kubo Toshimichi and Saig? Takamori" (two heroes of Japan's Meiji Restoration who initially worked together but later had a falling out).[152]

That same year, he wrote Life for Sale (, Inochi Urimasu), a humorous story about a man who, after failing to commit suicide, advertises his life for sale.[153] In a review of the English translation, novelist Ian Thomson called it a "pulp noir" and a "sexy, camp delight," but also noted that, "beneath the hard-boiled dialogue and the gangster high jinks is a familiar indictment of consumerist Japan and a romantic yearning for the past."[154]

Mishima was hated by leftists who said Hirohito should have abdicated to taken responsibility for the loss of life in the war. They also hated him for his outspoken commitment to bushido, the code of the samurai in The way of the samurai (?, Hagakure Ny?mon), his support for the abolition of Article 9 of the Japanese Constitution, and for his contention in his critique The Defense of Culture (, Bunka B?eiron) that preached the importance of the Emperor in Japanese cultures. Mishima regarded the postwar era of Japan, where no poetic culture and supreme artist was born, as an era of fake prosperity, and stated in The Defense of Culture:

In the postwar prosperity called Sh?wa Genroku, where there are no Chikamatsu Monzaemon, Ihara Saikaku, Matsuo Bash?, only infestation of flashy manners and customs in there. Passion is dried up, strong realism dispels the ground, and the deepening of poetry is neglected. That is, there are no Chikamatsu, Saikaku, or Basho now.[155]

In other critical essays,[k] Mishima argued that the national spirit which cultivated in Japan's long history is the key to national defense, and he had apprehensions about the insidious "indirect aggression" of the Chinese Communist Party, North Korea, and the Soviet Union.[12][13] In critical essays in 1969, Mishima explained Japan's difficult and delicate position and peculiarities between China, the Soviet Union, and the United States.

To put it simply, support for the Security Treaty means agreeing with the United States, and to oppose it means agreeing with the Soviet Union or the Chinese Communist Party, so after all, it's only just a matter of which foreign country to rely on, and therein the question of "what is Japan" is completely lacking. If you ask the Japanese, "Hey you, do you choose America, Soviet Union, or Chinese Communist Party?", if he is a true Japanese, he will withhold his attitude.[156][157]

In regards to those who strongly opposed the US military base in Okinawa and the Security Treaty:

They may appear to be nationalists and right-wingers in the foreign common sense, but in Japan, most of them are in fact left-wingers and communists.[158][157]

Throughout this period, Mishima continued to work on his magnum opus, the The Sea of Fertility tetralogy of novels, which began appearing in a monthly serialized format in September 1965.[159] The four completed novels were Spring Snow (1969), Runaway Horses (1969), The Temple of Dawn (1970), and The Decay of the Angel (published posthumously in 1971). Mishima aimed for a very long novel with a completely different raison d'etre from Western chronicle novels of the 19th and 20th centuries; rather than telling the story of a single individual or family, Mishima boldly set his goal as interpreting the entire human world.[160] In The Decay of the Angel, four stories convey the transmigration of the human soul as the main character goes through a series of reincarnations.[160] Mishima hoped to express in literary terms something akin to pantheism.[161] Novelist Paul Theroux blurbed the first edition of the English translation of The Sea of Fertility as "the most complete vision we have of Japan in the twentieth century" and critic Charles Solomon wrote in 1990 that "the four novels remain one of the outstanding works of 20th-Century literature and a summary of the author's life and work".[162]

Coup attempt and ritual suicide

Mishima delivering his speech in the failed coup attempt just prior to performing seppuku (November 25, 1970)

In August 1966, Mishima visited ?miwa Shrine in Nara Prefecture, thought to be one of the oldest Shint? shrines in Japan, as well as the hometown of his mentor Zenmei Hasuda and the areas associated with the Shinp?ren Rebellion (, Shinp?ren no ran), an uprising against the Meiji government by samurai in 1876. This trip would become the inspiration for portions of Runaway Horses (, Honba), the second novel in the Sea of Fertility tetralogy. While in Kumamoto, Mishima purchased a Japanese sword for 100,000 yen. Mishima envisioned the reincarnation of Kiyoaki, the protagonist the first novel Spring Snow, as a man named Isao who put his life on the line to bring about a restoration of direct rule by the Emperor against the backdrop of the League of Blood Incident (, Ketsumeidan jiken) in 1932.

From April 12 to May 27, 1967, Mishima underwent basic training with the Ground Self-Defense Force (GSDF).[163] Mishima had originally lobbied to train with the GSDF for six months, but was met with resistance from the Defense Agency.[164] Mishima's training period was finalized to 46 days, which required using some of his connections.[165] His participation in GSDF training was kept secret, both because the Defense Agency did not want to give the impression that anyone was receiving special treatment, and because Mishima wanted to experience "real" military life.[166][167] As such, Mishima trained under his birth name, Kimitake Hiraoka, and most of his fellow soldiers did not recognize him.[168]

From June 1967, Mishima became a leading figure in a plan to create a 10,000-man "Japan National Guard" (, Sokoku B?eitai) as a civilian complement to Japan's Self Defense Forces. He began leading groups of right-wing college students to undergo basic training with the GDSF in the hope of training 100 officers to lead the National Guard.[169][170][167]

Like many other right-wingers, Mishima was especially alarmed by the riots and revolutionary actions undertaken by radical "New Left" university students, who took over dozens of college campuses in Japan in 1968 and 1969. On February 26, 1968, the 32nd anniversary of the February 26 Incident, he and several other right-wingers met at the editorial offices of the recently founded right-wing magazine Controversy Journal (?, Rons? jaanaru), where they pricked their little fingers and signed a blood oath promising to die if necessary to prevent a left-wing revolution from occurring in Japan.[171][172] Mishima showed his sincerity by signing his birth name, Kimitake Hiraoka, in his own blood.[173][172]

When Mishima found that his plan for a large-scale Japan National Guard with broad public and private support failed to catch on,[174] he formed the Tatenokai (, "Shield Society") on October 5, 1968, a private militia composed primarily of right-wing college students who swore to protect the Emperor of Japan. The activities of the Tatenokai primarily focused on martial training and physical fitness, including traditional kendo sword-fighting and long-distance running.[175][176] Mishima personally oversaw this training himself. Initial membership was around 50, and was drawn primarily from students from Waseda University and individuals affiliated with Controversy Journal. The number of Tatenokai members later increased to 100.[177][169] Some of the members had graduated from university and were employed, while some were already working adults when they enlisted.[178]

On November 25,1970, Mishima and four members of the Tatenokai--Masakatsu Morita (?), Masahiro Ogawa (?), Masayoshi Koga (?), and Hiroyasu Koga (?)--used a pretext to visit the commandant Kanetoshi Mashita (?) of Camp Ichigaya, a military base in central Tokyo and the headquarters of the Eastern Command of the Japan Self-Defense Forces.[112] Inside, they barricaded the office and tied the commandant to his chair. Mishima wore a white hachimaki headband with a red hinomaru circle in the center bearing the kanji for "To be reborn seven times to serve the country" (?, Shichish? h?koku), which was a reference to the last words of Kusunoki Masasue (?), the younger brother of the 14th century imperial loyalist samurai Kusunoki Masashige (?), as the two brothers died fighting to defend the Emperor. With a prepared manifesto and a banner listing their demands, Mishima stepped out onto the balcony to address the soldiers gathered below. His speech was intended to inspire a coup d'état to restore the power of the emperor. He succeeded only in irritating the soldiers, and was heckled, with jeers and the noise of helicopters drowning out some parts of his speech. In his speech Mishima rebuked the JSDF for their passive acceptance of a constitution that "denies (their) own existence" and shouted to rouse them, "Where has the spirit of the samurai gone?" In his final written appeal that Morita and Ogawa scattered copies of from the balcony, Mishima expressed his dissatisfaction with the half-baked nature of the JSDF:

It is self-evident that the United States would not be pleased with a true Japanese volunteer army protecting the land of Japan.[179][180]

After he finished reading his prepared speech in a few minutes' time, Mishima cried out "Long live the Emperor!" (, Tenno-heika banzai) three times. He then retreated into the commandant's office and apologized to the commandant, saying,

We did it to return the JSDF to the Emperor. I had no choice but to do this.[181][182][183]

Mishima then committed seppuku, a form of ritual suicide by disembowelment associated with the samurai. Morita had been assigned to serve as Mishima's second (kaishakunin), cutting off his head with a sword at the end of the ritual to spare him unnecessary pain. However, Morita proved unable to complete his task, and after three failed attempts to sever Mishma's head, Koga had to step in and complete the task.[181][182][183]

According to the testimony of the surviving coup members, originally all four Tatenokai members had planned to commit seppuku along with Mishima. However Mishima attempted to dissuade them and three of the members acquiesced to his wishes. Only Morita persisted, saying, "I can't let Mr. Mishima die alone." But Mishima knew that Morita had a girlfriend and still hoped he might live. Just before his seppuku, Mishima tried one more time to dissuade him, saying "Morita, you must live, not die."[184][185][l] Nevertheless, after Mishima's seppuku, Morita knelt and stabbed himself in the abdomen and Koga acted as kaishakunin again.[186]

This coup attempt is called The Mishima Incident (?, Mishima jiken) in Japan.[m]

Mishima delivering his speech on the balcony

Another traditional element of the suicide ritual was the composition of so-called death poems by the Tatenokai members before their entry into the headquarters.[188] Having been enlisted in the Ground Self-Defense Force for about four years, Mishima and other Tatenokai members, alongside several officials, were secretly researching coup plans for a constitutional amendment. They thought there was a chance when security dispatch (?, Chian Shutsudo) was dispatched to subjugate the Zenkyoto revolt. However, Zenkyoto was suppressed easily by the Riot Police Unit in October 1969. These officials gave up the coup of constitutional amendment, and Mishima was disappointed in them and the actual circumstances in Japan after World War II.[189] Officer Kiyokatsu Yamamoto (?), Mishima's training teacher, explained further:

The officers had a trusty connection with the U.S.A.F.(includes U.S.F.J), and with the approval of the U.S. army side, they were supposed to carry out a security dispatch toward the Armed Forces of the Japan Self-Defense Forces. However, due to the policy change (reversal) of U.S. by Henry Kissinger who prepared for visiting China in secret (changing relations between U.S. and China), it became a situation where the Japanese military was not allowed legally.[189]

Mishima planned his suicide meticulously for at least a year and no one outside the group of hand-picked Tatenokai members knew what he was planning. [190][191] His biographer, translator John Nathan, suggests that the coup attempt was only a pretext for the ritual suicide of which Mishima had long dreamed.[192] His friend Scott-Stokes, another biographer, says that "Mishima is the most important person in postwar Japan", and described the shackles of the constitution of Japan:

Mishima cautioned against the lack of reality in the basic political controversy in Japan and the particularity of Japan's democratic principles.[193]

Scott-Stokes noted a meeting with Mishima in his diary entry for 3 September 1970, at which Mishima, with a dark expression on his face, said:

Japan lost its spiritual tradition, and materialism infested instead. Japan is under the curse of a Green Snake now. The Green Snake bites on Japanese chest. There is no way to escape this curse.[194]

Scott-Stokes told Takao Tokuoka in 1990 that he took the Green Snake to mean the U.S. dollar.[195] Between 1968 and 1970, Mishima also said words about Japan's future. Mishima's senior friend and father heard from Mishima:

Japan will be hit hard. One day, the United States suddenly contacts China over Japan's head, Japan will only be able to look up from the bottom of the valley and eavesdrop on the conversation slightly. Our friend Taiwan will say that "it will no longer be able to count on Japan", and Taiwan will go somewhere. Japan may become an orphan in the Orient, and may eventually fall into the product of slave dealers.[196]

Mishima's corpse was returned home the day after his death. His father Azusa had been afraid to see his son whose appearance had completely changed. However, when he looked into the casket fearfully, Mishima's head and body had been sutured neatly, and his dead face, to which makeup had been beautifully applied, looked as if he were alive due to the police officers. They said: "We applied funeral makeup carefully with special feelings, because it is the body of Dr. Mishima, whom we have always respected secretly."[197] Mishima's body was dressed in the Tatenokai uniform, and the gunt? was firmly clasped at the chest according to the will that Mishima entrusted to his friend Kinemaro Izawa ().[197][198] Azusa put the manuscript papers and fountain pen that his son cherished in the casket together.[197][n] Mishima had made sure his affairs were in order and left money for the legal defence of the three surviving Tatenokai members--Masahiro Ogawa (?), Masayoshi Koga (?), and Hiroyasu Koga.[191][o] After the incident, there were exaggerated media commentaries that "it was a fear of the revival of militarism".[202][203] The commandant who was made a hostage said in the trial,

I didn't feel hate towards the defendants at that time. Thinking about the country of Japan, thinking about the JSDF, the pure hearts of thinking about our country that did that kind of thing, I want to buy it as an individual.[181]

The day of the Mishima Incident (November 25) was the date when Hirohito (Emperor Sh?wa) became regent and the Emperor Sh?wa made the Humanity Declaration at the age of 45. Researchers believe that Mishima chose that day to revive the "God" by dying as a scapegoat, at the same age as when the Emperor became a human.[204][205] There are also views that the day corresponds to the date of execution (after the adoption of the Gregorian calendar) of Yoshida Sh?in (?), whom Mishima respected,[197] or that Mishima had set his period of bardo (, Chuu) for reincarnation because the 49th day after his death was his birthday, January 14.[206] On his birthday, Mishima's remains were buried in the grave of the Hiraoka Family at Tama Cemetery.[197] In addition, November 25 is the day he began writing Confessions of a Mask (, Kamen no kokuhaku), and this work was announced as "Techniques of Life Recovery", "Suicide inside out". Mishima also wrote down in notes for this work,

This book is a will for leave in the Realm of Death where I used to live. If you take a movie of a suicide jumped, and rotate the film in reverse, the suicide person jumps up from the valley bottom to the top of the cliff at a furious speed and he revives.[207][208]

Writer Takashi Inoue believes he wrote Confessions of a Mask to live in postwar Japan, and to get away from his "Realm of Death"; by dying on the same date that he began to write Confessions of a Mask, Mishima intended to dismantle all of his postwar creative activities and return to the "Realm of Death" where he used to live.[208]

Legacy

Mishima Yukio Literary Museum in Yamanakako, Yamanashi

Much speculation has surrounded Mishima's suicide. At the time of his death he had just completed the final book in his Sea of Fertility tetralogy.[112] He was recognized as one of the most important post-war stylists of the Japanese language. Mishima wrote 34 novels, about 50 plays, about 25 books of short stories, at least 35 books of essays, one libretto, and one film.[209]

Grave of Yukio Mishima in Tama Cemetery. The inscription reads, "Grave of Hiraoka family"

Mishima's grave is located at the Tama Cemetery in Fuch?, Tokyo. The Mishima Prize was established in 1988 to honor his life and works. On July 3, 1999, "Yukio Mishima Literary Museum" (, Mishima Yukio Bungaku-kan) was opened in Yamanakako, Yamanashi Prefecture.[210]

The Mishima Incident helped inspire the formation of New Right (, shin uyoku) groups in Japan, such as the "Issuikai" (), founded by some of Mishima's followers. Compared to older groups such as Bin Akao's Greater Japan Patriotic Party that took a pro-American, anti-communist stance, New Right groups such as the Issuikai tended to emphasize ethnic nationalism and anti-Americanism.[211]

A memorial service deathday for Mishima, called "Patriotism Memorial" (, Y?koku-ki), is held every year in Japan on November 25 by the "Yukio Mishima Study Group" (, Mishima Yukio Kenky?kai) and former members of the "Japan Student Alliance" (, Nihon Gakusei D?mei).[212] Apart from this, a memorial service is held every year by former Tatenokai members, which began in 1975, the year after Masahiro Ogawa, Masayoshi Koga, and Hiroyasu Koga were released on parole.[213]

A variety of cenotaphs and memorial stones have been erected in honor of Mishima's memory in various places around Japan. For example, stones have been erected at Hachiman Shrine in Kakogawa City, Hyogo Prefecture, where his grandfather's permanent domicile was;[214] in front of the 2nd company corps at JGSDF Camp Takigahara;[215] and in one of Mishima's acquaintance's home garden.[216] There is also a "Monument of Honor Yukio Mishima & Masakatsu Morita" in front of the Rissho University Shonan High school in Shimane Prefecture.[217]

The Mishima Yukio Shrine was built in the suburb of Fujinomiya, Shizuoka Prefecture, on 9 January 1983.[218][219]

A 1985 biographical film by Paul Schrader titled Mishima: A Life in Four Chapters depicts his life and work; however, it has never been given a theatrical presentation in Japan. A 2012 Japanese film titled 11:25 The Day He Chose His Own Fate also looks at Mishima's last day.

In 2014, Mishima was one of the inaugural honourees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighbourhood noting LGBTQ people who have "made significant contributions in their fields".[220][221][222]

David Bowie painted a large expressionist portrait of Mishima, which he hung at his Berlin residence.[223]

Awards

Major works

Literature

Japanese title English title Year (first appeared) English translator Year (English translation) ISBN

Hanazakari no Mori
(short story)
"Forest in Full Bloom" 1941 Andrew Rankin 2000  
?
S?kasu
(short story)
"The Circus" 1948 Andrew Rankin 1999[226]

T?zoku
Thieves 1947-1948  

()
Kamen no Kokuhaku
Confessions of a Mask 1949 Meredith Weatherby 1958 0-8112-0118-X
?
Ai no Kawaki
Thirst for Love 1950 Alfred H. Marks 1969 4-10-105003-1
?
Junpaku no Yoru
Pure White Nights 1950  
?
Ao no Jidai
The Age of Blue 1950  

Kinjiki
Forbidden Colors 1951-1953 Alfred H. Marks 1968-1974 0-375-70516-3
?
Manatsu no Shi
(short story)
Death in Midsummer and Other Stories 1952 Edward G. Seidensticker, Ivan Morris,
Donald Keene, Geoffrey W. Sargent
1966 0-8112-0117-1

Shiosai
The Sound of Waves 1954 Meredith Weatherby 1956 0-679-75268-4

Shi o Kaku Sh?nen
(short story)
"The Boy Who Wrote Poetry" 1954 Ian H. Levy 1977[226]
?
Shizumeru Taki
The Sunken Waterfall 1955  

Kinkaku-ji
The Temple of the Golden Pavilion 1956 Ivan Morris 1959 0-679-75270-6

Rokumeikan
(play)
Rokumeikan 1956 Hiroaki Sato 2002 0-231-12633-6
?
Ky?ko no Ie
Kyoko's House 1959  
?
Utage no Ato
After the Banquet 1960 Donald Keene 1963 0-399-50486-9

"Sut?" (novella)
Star (novella) 1960[227] Sam Bett 2019 978-0-8112-2842-8
()
Y?koku
(short story)
"Patriotism" 1961 Geoffrey W. Sargent 1966 0-8112-1312-9

Kuro Tokage
(play)
The Black Lizard 1961 Mark Oshima 2007 1-929280-43-2
?
Kemono no Tawamure
The Frolic of the Beasts 1961 Andrew Clare 2018 978-0-525-43415-3
?
Utsukushii Hoshi
A Beautiful Star 1962 Stephen Dodd forthcoming[228]

Nikutai no Gakk?
The School of Flesh 1963  

Gogo no Eik?
The Sailor Who Fell from Grace with the Sea 1963 John Nathan 1965 0-679-75015-0
?
Kinu to Meisatsu
Silk and Insight 1964 Hiroaki Sato 1998 0-7656-0299-7
?
Mikumano M?de
(short story)
"Acts of Worship" 1965 John Bester 1995 0-87011-824-2

Kujaku
(short story)
"The Peacocks" 1965 Andrew Rankin 1999 1-86092-029-2

Sado K?shaku Fujin
(play)
Madame de Sade 1965 Donald Keene 1967 ISBN-10 : 1860920292 Parameter error in {{ISBN}}: Invalid ISBN.
?
Eirei no Koe
(short story)
"The Voices of the Heroic Dead" 1966  

Suzaku-ke no Metsub?
(play)
The Decline and Fall of The Suzaku 1967 Hiroaki Sato 2002 0-231-12633-6

Inochi Urimasu
Life for Sale 1968 Stephen Dodd 2019 978-0-241-33314-3

Waga Tomo Hittor?
(play)
My Friend Hitler and Other Plays 1968 Hiroaki Sato 2002 0-231-12633-6

Rai? no Terasu
(play)
The Terrace of The Leper King 1969 Hiroaki Sato 2002 0-231-12633-6
?
(?)
H?j? no Umi
The Sea of Fertility tetralogy: 1965-1971   0-677-14960-3
I.
Haru no Yuki
1. Spring Snow 1965-1967 Michael Gallagher 1972 0-394-44239-3
II.
Honba
2. Runaway Horses 1967-1968 Michael Gallagher 1973 0-394-46618-7
III.
Akatsuki no Tera
3. The Temple of Dawn 1968-1970 E. Dale Saunders and Cecilia S. Seigle 1973 0-394-46614-4
IV. ?
Tennin Gosui
4. The Decay of the Angel 1970-1971 Edward Seidensticker 1974 0-394-46613-6

Critical essay

Japanese title English title Year (first appeared) English translation, year ISBN

Aporo no Sakazuki
The Cup of Apollo 1952  
?
Fud?toku Ky?iku K?za
Lectures on Immoral Education 1958-1959  

Watashi no Henreki Jidai
My Wandering Period 1963  
?
(?)
Taiy? to Tetsu
Sun and Steel 1965-1968 John Bester 4-7700-2903-9
?
Hagakure Ny?mon
Way of the Samurai 1967 Kathryn Sparling, 1977 0-465-09089-3

Bunka B?ei-ron
The Defense of the Culture 1968  

Kakumei tetsugaku toshiteno Yomegaku
Wang Yangming Thought as Revolutionary Philosophy 1970 Harris I. Martin, 1971[226]

Plays for 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 (as a proud Tokyoite, he would not even attend the Bunraku puppet theatre, always associated with Osaka and the provinces).[229]

Though Mishima took themes, titles and characters from the Noh canon, his twists and modern settings, such as hospitals and ballrooms, startled audiences accustomed to the long-settled originals.

Donald Keene translated Kindai Nogaku-sh? (, Five Modern Noh Plays) (Tuttle, 1981; ISBN 0-8048-1380-9). Most others remain untranslated and so lack an "official" English title; in such cases it is therefore preferable to use the r?maji title.

Year (first appeared) Japanese title English title Genre
1950
Kantan
The Magic Pillow Noh
1951
Aya no Tsuzumi
The Damask Drum Noh
1952
Sotoba Komachi
Komachi at the Gravepost Noh
1954
Aoi no Ue
The Lady Aoi Noh
1954
()
Iwashi Uri Koi Hikiami
The Sardine Seller's Net of Love Kabuki
1955
Hanjo
The Waiting Lady with the Fan Noh
1955 ?
Fuy? no Tsuyu ?uchi Jikki
The Blush on the White Hibiscus Blossom: Lady Fuyo and the True Account of the ?uchi Clan Kabuki
1957
D?j?ji
D?j?ji Temple Noh
1959
Yuya
Yuya Noh
1960
Yoroboshi
The Blind Young Man Noh
1969
Chinsetsu Yumiharizuki
A Wonder Tale: The Moonbow
or Half Moon (like a Bow and arrow setting up): The Adventures of Tametomo
Kabuki

Films

Mishima starred in multiple films, Patriotism was written and funded by himself, and directed in close cooperation with Masaki Domoto. Mishima also wrote a detailed account of the whole process, in which the particulars regarding costume, shooting expenses and the film's reception are delved into. Patriotism won the second prize at the Tours International Short Film Festival in January 1966.[230][231]

Year Title United States release title(s) Character Director
1951 ?
Jumpaku no Yoru
Unreleased in the U.S. an extra (dance party scene) Hideo ?ba
1959 ?
Fud?toku Ky?ikuk?za
Unreleased in the U.S. himself as navigator Katsumi Nishikawa
1960
Karakkaze Yar?
Afraid to Die Takeo Asahina
(main character)
Yasuzo Masumura
1966
Y?koku
The Rite of Love and Death
Patriotism
Shinji Takeyama
(main character)
Yukio Mishima,
Domoto Masaki (sub)
1968
Kurotokage
Black Lizard Human Statue Kinji Fukasaku
1969
Hitokiri
Tenchu! Tanaka Shinbei Hideo Gosha

Works about Mishima

Collection of Photographs
Book
Film, TV
Music
  • String Quartet No.3, "Mishima", by Philip Glass. A reworking of parts of his soundtrack for the film Mishima: A Life in Four Chapters it has a duration of 18 minutes.
  • Death and Night and Blood (Yukio), a song by the Stranglers from the Black and White album (1978) (Death and Night and Blood is the phrase from Mishima's novel Confessions of a Mask)[233]
  • Forbidden Colours, a song on Merry Christmas, Mr. Lawrence soundtrack by Ryuichi Sakamoto with lyrics by David Sylvian (1983). (Inspired by Mishima's novel Forbidden Colors)[234]
Play
  • Yukio Mishima, a play by Adam Darius and Kazimir Kolesnik, first performed at Holloway Prison, London, in 1991, and later in Finland, Slovenia and Portugal.
  • M, a ballet spectacle work homage to Mishima by Maurice Béjart in 1993
Manga, Game
  • Shin Megami Tensei by Atlus (1992) - A character Gotou who started a coup in Ichigaya, modeled on Mishima.
  • Tekken by Namco (1994) - Mishima surname comes from Yukio Mishima, and a main character Kazuya Mishima's way of thinking was based on Mishima.
  • Jakomo Fosukari(Jakomo Fosukari (?)) by Mari Yamazaki (2012) - The characters modeled on Mishima and K?b? Abe appears in.
Poem
  • Grave of Mishima (Yukio Mishima no haka ()) by Pierre Pascal (1970) - 12 Haiku poems and 3 Tanka poems. Appendix of Shinsho Hanayama (?)'s book translated into French.
Art
  • Kou (Kou (?)) by Junji Wakebe (?) (1976) - Life-sized male sculpture modeled on Mishima. The work was requested by Mishima in the fall of 1970, he went to Wakebe's atelier every Sunday. It was exhibited at the 6th Niccho Exhibition on April 7, 1976.
  • Season of fiery fire / Requiem for someone: Number 1, Mishima (Rekka no kisetsu/Nanimonoka eno rekuiemu: Sono ichi Mishima (/? )) and The classroom of Beauty; Listen to everyone (Bi no kyositsu, seicho seyo ()) by Yasumasa Morimura (2006, 2007) - Disguise performance as Mishima
  • Objectglass 12 and The Death of a Man (Otoko no shi ()) by Kimiski Ishizuka (?) (2007, 2011) - Mishima dolls

See also

  • Hachinoki kai - a chat circle Mishima belonged.
  • Japan Business Federation attack - an incident in 1977 by four persons (including one former Tatenokai member) affected by the Mishima incident.
  • Kosaburo Eto - Mishima states that he was impressed with the seriousness of Eto's self-immolation, "the most intense criticism of politics as a dream or art."[235]
  • Kumo no kai - a literary movement group presided over by Kunio Kishida in 1950-1954, in which Mishima belonged.
  • Mishima Yukio Prize - a literary award established in September 1987.
  • Phaedo - the book Mishima had been read in his later years.
  • Suegen - a traditional authentic Japanese style restaurant in Shinbashi, where is known as the last dinner place for Mishima and four Tatenokai members (Masakatsu Morita, Hiroyasu Koga, Masahiro Ogawa, Masayoshi Koga).

Notes

  1. ^ Pronunciation: , ,[1][2][3][4]Japanese: [mi?ima].
  2. ^ Yoritaka's eldest son was Matsudaira Yorinori (?) who died at the age of 33 when he was ordered to commit seppuku by the shogunate during the Tengut? no ran (, "Mito Rebellion"), because he was sympathetic to Tengu-t? ()'s Sonn? j?i.[19]
  3. ^ Mishima had told about his bloodline that; "I'm a descendant of the peasants and samurais, and my way of working is like a most hard-working peasant."[23]
  4. ^ At the end of this debut work, a limpid "tranquility" is drawn, and it is often pointed out by some literature researchers that it has something in common with the ending of Mishima's posthumous work The Sea of Fertility.[31][32]
  5. ^ Kuniko Mitani, the sister of Makoto Mitani (), would become the model for "Sonoko" in Confessions of a Mask (, Kamen no kokuhaku). Mishima wrote in a letter to an acquaintance that "I wouldn't have lived if I didn't write about her."[58]
  6. ^ In the occupation of Japan, SCAP executed "sword hunt", and 3 million swords which had been owned by the Japanese people were confiscated. Further Kendo was banned, and even when barely allowed in the form of "bamboo sword competition", SCAP severely banned kendo shouts,[61] and, they banned Kabuki which had the revenge theme, or inspired the samurai spirit.[62]
  7. ^ In 1956, the Japanese government had issued an economic white paper that famously declared, "The postwar is now over" (Mohaya sengo de wa nai).[75]
  8. ^ As for the evaluation of Fukushima's book, it is attracting attention as material for learning about Mishima's friendships when writing Forbidden Colors; however, there were criticisms that this book was confused readers, because it was written the real names of all characters like a nonfiction, at the same time, Fukushima specified "a novel about Mr. Yukio Mishima", "this work", "this novel" in the introduction and epilogue[117] or it was advertised as "an autobiographical novel", so the publisher didn't have the confidence to say that everything was true; the only valuable accounts in this book were Mishima's letters.[113] Also there were vitriolic criticisms that these contents of book was insignificant compared to its exaggerated advertising, or it was pointed out that there were contradictions and unnatural adaptations like a made-up story in the neighborhood of gay bars.[113]G? Itasaka, who thinks Mishima was homosexual, said about this book as below, "Fukusima's petty touch only described a petty Mishima, Mishima was sometimes vulgar, but was never a humble man. The complex which Mishima himself kept holding like a poison in his own(is like available for use at any time), was not always an aversion for him."[113]Jakucho Setouchi and Akihiro Miwa said about this book and Fukusima as below, "It's the worst way for a man or a woman to write bad words about someone you once liked, and Fukusima is ingrateful, because he had been taken care of in various ways when he was poor, by Mishima and his parents. "[118]
  9. ^ On one occasion, when Mishima missed the new issue of Weekly Sh?nen Magazine on its release day because he had been shooting the movie Black Lizard, at midnight he suddenly appeared in the magazine's editorial department and demanded, "I want you to sell to me the Weekly Sh?nen Magazine just released today."[132]
  10. ^ Mishima who was paying attention to the disquieting movement of China, also in 1959 commented about resistance of Tibet as below, "A Fuunji (, "young hero of the troubled times") who dives and joins the Tibetan Rebel Army against China did not appear from Japan. It seems like that Japanese have lost spirits of helping the weak, and it may be a weakling self-torturing consider of which Japan is the weakest in the world, lurked deep inside Japanese minds after the defeat."[149]
  11. ^ There are Bisection of JSDF (, Jieitai nibun ron), Connect them with bonds of honor, Chrysanthemum and Sword (, Eiyo no kizuna de tsunage Kiku to Ktana), About the Shield Society (, Tatenokai no koto), Japan National Guard: Tentative plan (J.N.G. (Japan National Guard -), J.N.G Karian (Sokoku Boei-tai)), Why we need the Japan National Guard (, Sokoku Boei-tai wa naze hitsuyou ka?), collected in complete34 2003, complete35 2003.
  12. ^ This is the survived member Masayoshi Koga (?)'s testimony.[185]
  13. ^ Immediately after the incident, Yasunari Kawabata rushed to the Ichigaya camp, but was unable to enter the commandant's room during on-the-spot investigation.[187](He said that the report of "Kawabata was admitted to the bloody death scene" was a fake news.[187])
  14. ^ Masakatsu Morita's corpse, like Mishima, his head and body had been sutured neatly. Then Morita's body was dressed in the shroud, the casket was taken over by his brother. After the cremation in Yoyogi, Shibuya, Morita's ashes returned to his hometown of Mie Prefecture.[199][200]
  15. ^ Mishima as a father arranged for the department store for his two children till they became adults to receive Christmas gifts every year after his death,[201] and asked the publisher to pay the long-term subscription fee for children's magazines in advance and deliver them every month.[196]

References

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  3. ^ "Mishima". The American Heritage Dictionary of the English Language (5th ed.). Boston: Houghton Mifflin Harcourt. Retrieved 2019.
  4. ^ "Mishima". Merriam-Webster Dictionary. Retrieved 2019.
  5. ^ Mccarthy, Paul (2013-05-05). "Revealing the many masks of Mishima". The Japan Times. Retrieved .
  6. ^ Rankin, Andrew (2018). Mishima, Aesthetic Terrorist: An Intellectual Portrait. University of Hawaii Press. p. 119.
  7. ^ Belsky, Beryl. "Yukio Mishima: The Turbulent Life Of A Conflicted Martyr". Culture Trip.
  8. ^ "Yukio Mishima - 'The Lost Samurai'". Japan Today.
  9. ^ Flanagan, Damian (November 21, 2015). "Yukio Mishima's enduring, unexpected influence". The Japan Times.
  10. ^ "Everyone in Japan Has Heard of Him". archive.nytimes.com.
  11. ^ a b Mishima, Yukio (1970). "? (?)(?)" [Problem presentation 1,2]. Constitutional Amendment Draft Study Group (in Japanese). collected in complete36 2003, pp. 118-132
  12. ^ a b c Mishima, Yukio (1969). "" [Bisection of JSDF]. 20 Seiki (in Japanese). collected in complete35 2003, pp. 434-446
  13. ^ a b c Mishima, Yukio (1968). "" [Connect them with bonds of honor, Chrysanthemum and Sword]. Nihon Oyobi Nihonjin(Seikyosha) (in Japanese). collected in complete35 2003, pp. 188-199
  14. ^ a b c Mishima, Yukio (1970). "" [About self-defense of our country]. Lecture at the 3rd Shinsei Doshikai Youth Politics Workshop (in Japanese). collected in complete36 2003, pp. 319-347, complete41 2004
  15. ^ Azusa 1996, pp. 31-47
  16. ^ Inose-e 2012
  17. ^ Matsumoto 1990, pp. 9-30
  18. ^ Liukkonen, Petri. "Yukio Mishima". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on October 10, 2004.
  19. ^ a b c d Etsugu 1983, pp. 71-140
  20. ^ Family tree of the Matsudaira family in Etsugu 1983, pp. 137-140, 234-235
  21. ^ "?(?) - Reichsarchiv ~~". reichsarchiv.jp.
  22. ^ Inose-j 1999, pp. 25-111
  23. ^ Mishima, Yukio (1966). "-" [First starring on French television: Yukio Mishima, the Wakadaish? (whizz kid) of the literary world]. Mainichi Shinbun (in Japanese). collected in complete34 2003, pp. 31-34
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  26. ^ Hiraoka, Shizue (1976). "-" [Like as Turbulent water runs: On the sixth anniversary of Yukio Mishima's death]. Shincho(Shinchosha) (in Japanese)., collected in Gunzo18 1990, pp. 193-204
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  28. ^ a b c Mishima, Yukio (1963). "" [My Wandering Period]. Tokyo Shimbun (in Japanese)., collected in complete32 2003, pp. 271-323
  29. ^
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  31. ^ Okuno 2000, pp. 421-450
  32. ^ Encyclo 2000, pp. 335-345
  33. ^ Mishima, Yukio (1958). "?" [When I published "Forest in Full Bloom"]. Gunzo(Kodansha) (in Japanese)., collected in complete30 2003, pp. 285-286
  34. ^ a b Shimizu, Fumio (1975). "?" [Over the Hanazakari no Mori]. Appendix of "Yukio Mishima Complete Works No.1"(Shinchosha) (in Japanese). collected in N-Reader 1990, pp. 22-24
  35. ^ Hasuda, Zenmei (1941). "?" [Editor's note]. Bungei Bunka(Nihonbungaku No Kai) (in Japanese). collected in Jur? 2005, p. 116
  36. ^ Inose-e 2012, pp. 86
  37. ^ Inose-e 2012, pp. 88
  38. ^ Muramatsu 1990, pp. 469-503
  39. ^ Ando 1996, p. 59
  40. ^ Mishima, Yukio (1970). "?" [Introduction]. "Zenmei Hasuda and His Death" Written by Jiro Odakane (in Japanese). collected in complete36 2003, pp. 60-63
  41. ^ Mishima, Yukio (1960). "?" [The way of the Gods]. Private Note (in Japanese). collected in complete26 2003, pp. 88-90
  42. ^ Encyclo 2000, pp. 185-187, 222-223
  43. ^ a b c Mitani 1999, pp. 11-133
  44. ^ a b Mishima, Yukio (1957). "?" [The graduation ceremony of Gakush?in]. Style (in Japanese)., collected in complete29 2003, p. 499
  45. ^ complete42 2005, p. 95
  46. ^ Album 1983, p. 18
  47. ^ a b Mishima, Yukio (1957). "" [My Puberty]. My?j?(Shueisha) (in Japanese). collected in complete29 2003, pp. 339-408
  48. ^ See for example, Tatsumi Okabe, "Revival of Japanese Militarism?" The Institute of South East Asian Studies Occasional Papers No. 22 (July 1974), p. 11.
  49. ^ photograph of the will in Album 1983, p. 21
  50. ^ complete38 2004, pp. 917-918
  51. ^ complete26 2003, pp. 551-559
  52. ^ Mishima's letters to his friends(Makoto Mitani, Akira Kanzaki) and teacher Fumio Shimizu in August 1945, collected in complete38 2004, pp. 604,921-922,
  53. ^ Mishima, Yukio (1945). "?" [Postwar Diary]. Private Note (in Japanese). collected in complete26 2003, pp. 560-562
  54. ^ Jur? 2005, pp. 99-156
  55. ^ a b Yuasa 1984, pp. 105-128
  56. ^ Muramatsu 1990, pp. 78-97
  57. ^ Ando 1996, p. 85
  58. ^ Mishima's letter to Chikayoshi Ninagawa in 1949, Ando 1996, p. 120, Inose-j 1999, p. 262
  59. ^ Mishima, Yukio (1955). "-" [A departure from feelings of ending: a self-portrait in 1945]. Shincho(Shinchosha) (in Japanese)., collected in complete28 2003, pp. 516-518
  60. ^ complete38 2004, pp. 200-202
  61. ^ Mishima, Yukio (1970). "-" [What is "Idea of reform": Realization of reason]. Yomiuri Shinbun (in Japanese). collected in complete36 2003, pp. 30-38
  62. ^ Mishima, Yukio (1970). "" [Bushido and Militarism]. Weekly Playboy (in Japanese). collected in complete36 2003, pp. 247-266
  63. ^ complete38 2004, pp. 200-202, 313-318
  64. ^ Kimura 1995, pp. 247-267
  65. ^ Honda 2005, pp. 70-88
  66. ^ Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. pp. 181-82. ISBN 978-0-674-98850-7.
  67. ^ a b Encyclo 2000, pp. 230-231
  68. ^ Kawabata, Yasunari (1948). "" [Boy]. Human (in Japanese). collected in Kawabata10 1980, pp. 141-256
  69. ^ Encyclo 2000, pp. 476-479, 484-485
  70. ^ Sugimoto, Kazuhiro (1990). "?:?" ["Shiosai": The Story of "Utajima"]. Journal of College of International Studies, Chubu University (in Japanese). 6: 355-364.
  71. ^ Encyclo 2000, p. 153
  72. ^ Mishima, Yukio (1954). "" [New theory about fascism]. Bungakukai (in Japanese). collected in complete28 2003, pp. 350-359
  73. ^ Mishima, Yukio (1965). "" [Around the time of writing "The Sound of Waves"]. Ushio (in Japanese). collected in complete33 2003, pp. 478-480
  74. ^ Encyclo 2000, pp. 92-97
  75. ^ Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. p. 217. ISBN 978-0-674-98848-4.
  76. ^ Mishima, Yukio (1959). "?" ["Ky?ko no Ie" What I wrote in there]. Advertising Leaflet (in Japanese). collected in complete31 2003, p. 242
  77. ^ Mishima, Yukio (1959). "- 34?6?29?(?)?" [Diary: Naked body and Apparel "date of June 29 1959"]. Shincho (in Japanese). collected in complete30 2003, pp. 236-240
  78. ^ Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. pp. 251-52. ISBN 978-0-674-98850-7.
  79. ^ a b Inose-j 1999, pp. 346-347
  80. ^ Muramatsu 1990, pp. 279-280
  81. ^ Mishima's letter to Yasunari Kawabata on 18 December 1959, collected in complete38 2004, pp. 291-292
  82. ^ Mishima, Yukio (1968). "?" [Fascist or Revolutionist]. Eiga Geijutsu (in Japanese). collected in complete39 2004, pp. 729-760(dialogue with Nagisa ?shima)
  83. ^ a b c Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. pp. 250-51. ISBN 978-0-674-98850-7.
  84. ^ Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. p. 250. ISBN 978-0-674-98850-7.
  85. ^ a b c Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. p. 251. ISBN 978-0-674-98850-7.
  86. ^ Mishima, Yukio (1960). "" [A Political Opinion]. Mainichi Shinbun (in Japanese). collected in complete31 2003, pp. 433-436
  87. ^ Cooper-Chen, Anne; Kodama, Miiko (1997). Mass communication in Japan. Wiley-Blackwell. p. 187. ISBN 978-0-8138-2710-0. Retrieved 2010.
  88. ^ Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. p. 213. ISBN 978-0-674-98850-7.
  89. ^ Inose-e 2012, pp. 454
  90. ^ Mishima, Yukio (1965). "?" [The epilogue]. Madame de Sade (in Japanese). collected in complete33 2003, pp. 585-586
  91. ^ Inose-e 2012, pp. 453-454
  92. ^ Inose-e 2012, pp. 454
  93. ^ Encyclo 2000, p. 149
  94. ^ Taiyo 2010, pp. 104-105
  95. ^ "Nomination Database: Yukio Mishima". Nobel prize. Retrieved 2016.
  96. ^ Flanagan, Damian. "Mishima, Murakami and the elusive Nobel Prize". Japan Times. Retrieved 2016.
  97. ^ McCarthy, Paul. "Revealing the many masks of Mishima". Japan Times. Retrieved 2016.
  98. ^ Mishima, Yukio; Bataille, Georges (1995). My Mother/Madame Edwarda/The Dead Man. London: Marion Boyars. pp. 4, 11. ISBN 0-7145-3004-2.
  99. ^ Encyclo 2000, pp. 457-458
  100. ^ Reseach2 2006, pp. 139-151
  101. ^ Richie, Donald (2005). The Japan journals: 1947-2004. Berkeley, Calif.: Stone Bridge. pp. 148-149. ISBN 978-0-89346-984-9. OCLC 773692477.
  102. ^ a b Shiine 2012, pp. 27-33
  103. ^ Shiine 2012, p. 104
  104. ^ "Inside The Soviet KGB's Secret War On Western Books". RadioFreeEurope RadioLiberty. April 21, 2019. Retrieved 2019.
  105. ^ Side 2014, pp. 71-74
  106. ^ Iwashita 2008, pp. 44-53
  107. ^ CITEREFIwashita2008
  108. ^ Iwashita 2008, CITEREFIwashita2011
  109. ^ Sheridan, Michael (March 27, 2005). "Briton let author commit hara kiri". The Sunday Times. ISSN 0956-1382. Retrieved 2020.
  110. ^ Matsumoto 1990, pp. 117-160
  111. ^ Scott-Stokes 2000
  112. ^ a b c Kakutani, Michiko (September 15, 1985). "Mishima: Film Examines an Affair with Death". The New York Times. Retrieved 2020.
  113. ^ a b c d e Itasaka 1998, pp. 227-244
  114. ^ complete42 2005, pp. 365, 367
  115. ^ Sato, Hiroaki (December 29, 2008). "Suppressing more than free speech". The View from New York. Retrieved 2014.
  116. ^ "(2)" [The judgment sentence: The case of unauthorized copying of Mishima's letters]. Japan Uni Copyright Center (in Japanese). Retrieved 2020.
  117. ^ Fukushima 1998, p. 7, 273
  118. ^ Setouchi 2003
  119. ^ Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. pp. 255-59. ISBN 978-0-674-98850-7.
  120. ^ Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. p. 257. ISBN 978-0-674-98850-7.
  121. ^ a b Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. p. 259. ISBN 978-0-674-98850-7.
  122. ^ Mishima, Yukio (1968). "?- " [Principle of national innovation: Teach in with students (No.1)]. Hitotsubashi University Japanese Culture Study Group (in Japanese). collected in complete40 2004, pp. 204-232
  123. ^ Muramatsu 1990, pp. 348-372
  124. ^ Testi 2011, pp. 125-158
  125. ^ Side 2014, pp. 85-89
  126. ^ complete42 2005, pp. 267-268
  127. ^ Tokyo Olympics reports are collected in complete33 2003, pp. 171-196
  128. ^ Mishima, Yukio (1964). "-" [The fire connecting the East and the West: Opening ceremony]. Mainichi Shinbun (in Japanese). collected in complete33 2003, pp. 171-174
  129. ^ a b Side 2014, pp. 152-155
  130. ^ a b Mishima, Yukio (1970). "" [Theory of Youth in Gekiga]. Sunday Mainichi (in Japanese). collected in complete36 2003, pp. 53-56
  131. ^ a b Mishima, Yukio (1956). "?" [My manga]. Manga Yomiuri (in Japanese). collected in complete29 2003, pp. 166-169
  132. ^ a b ?no, Shigeru (2009). 15? [The Sunday and Magazine: 15 years of Start and Struggles] (in Japanese). Kobunsha. ISBN 978-4-334-03503-7.
  133. ^ Mishima, Yukio (1955). "" [Writer's Diary]. Shosetsu Shincho (in Japanese). collected in complete28 2003, pp. 501-503
  134. ^ Mishima, Yukio (1955). "-" [Godzilla's egg: Hobby/Leisure]. Chk?ron (in Japanese). collected in complete28 2003, p. 667
  135. ^ Mishima, Yukio (1963). "?S?F" [Selfish hope of one SF fan]. Uch?jin (in Japanese). collected in complete32 2003, pp. 582-583
  136. ^ Mishima, Yukio (1970). " ?" [What is a Novel; 10]. Nami (in Japanese). collected in complete34 2003, pp. 732-737
  137. ^ Matsumoto 1990, p. 158
  138. ^ a b c Scott-Stokes 2012, pp. 168-170
  139. ^ Mishima, Yukio (1966). "" ["February 26 Incident" and me]. Appendix of Book "The Voices of the Heroic Dead"(Kawadeshoboshinsha) (in Japanese). collected in Heroic 2005, pp. 243-261,complete34 2003, pp. 107-119
  140. ^ "Mishima's Negative Political Theology". www.libraryofsocialscience.com. Retrieved .
  141. ^ Ge, She (2015). "China's Cultural Revolution and Japan's Intelligentsia: Kazumi Takahashi's Humanistic Sensibilities". Comparative Literature Studies. 52 (1): 72-73. doi:10.5325/complitstudies.52.1.0065.
  142. ^ complete42 2005, p. 288
  143. ^ Nishi 2020, pp. 187-207
  144. ^ Inose-e 2012, pp. 521-522
  145. ^ Inose-e 2012, pp. 522-527
  146. ^ Inose-e 2012, pp. 521-522
  147. ^ Mishima, Yukio (1967). "" [Impression of India]. Mainichi Shimbun (in Japanese). collected in complete34 2003, pp. 585-594
  148. ^ letter to Katsuo Kikuchi collected in complete38 2004, p. 460
  149. ^ Mishima, Yukio (1959). "" [Notes of Hope and Despair: The rebel]. Mainichi Shimbun (in Japanese). collected in complete31 2003, p. 195
  150. ^ Inose-e 2012, pp. 521
  151. ^ Inose-e 2012, pp. 417
  152. ^ Mishima, Yukio (1968). "-?" [Background of the work My Friend Hitler]. Tokyo Shinbun (in Japanese). collected in complete35 2003, pp. 319-320
  153. ^ Encyclo 2000, pp. 26-27
  154. ^ Thomson, Ian (1 August 2019). "Life for Sale by Yukio Mishima - review". Evening Standard. Retrieved 2020.
  155. ^ Mishima, Yukio (1968). "" [Defense of Culture]. Ch K?ron (in Japanese). collected in complete35 2003, pp. 15-51
  156. ^ Mishima, Yukio (1969). "" [What is Japan]. Bungeishunj? (in Japanese). collected in complete35 2003, pp. 678-701
  157. ^ a b Mishima, Yukio (1969). "-?" [Right-wing and left-wing in modern times: There is no sincerity in the remote control left wing]. Ryudo (in Japanese). collected in complete40 2004, pp. 567-583(dialogue with Hayashi Fusao)
  158. ^ Mishima, Yukio (1969). "STAGE-LEFT IS RIGHT FROM AUDIENCE" [Okinawa and Madame Butterfly's Offspring]. The New York Times (in Japanese). collected in complete35 2003, pp. 740-743
  159. ^ Flanagan, Damian (2015-08-22). "Descending to the depths of Yukio Mishima's Sea of Fertility". The Japan Times. Retrieved .
  160. ^ a b Mishima, Yukio (1969). "?" [About The Sea of Fertility]. Mainichi Shinbun (in Japanese). collected in complete35 2003, pp. 410-412
  161. ^ Mishima, Yukio; Mitsuo, Nakamura (1968). [Dialogue: Human being and Literatures] (in Japanese). Kodansha. NCID BN04404448. collected in complete40 2004, pp. 43-175(dialogue with Mitsuo Nakamura)
  162. ^ Solomon, Charles (1990-05-13). "Spring Snow, Runaway Horses, The Temple of Dawn, The Decay of the Angel, by Yukio Mishima". Los Angeles Times. Retrieved .
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  165. ^ Inose-e 2012, pp. 486
  166. ^ Inose-e 2012, pp. 486
  167. ^ a b Muramatsu 1990, pp. 421-442
  168. ^ Inose-e 2012, pp. 486
  169. ^ a b Suzuki 2005, pp. 9-29
  170. ^ Mishima, Yukio (1967). " ?" [Draft for platform of the Japan National Guard] (in Japanese). Cite journal requires |journal= (help) collected in complete36 2003, p. 665
  171. ^ Inose-e 2012, pp. 540
  172. ^ a b Azusa 1996, pp. 165-205
  173. ^ Inose-e 2012, pp. 540
  174. ^ Flanagan, Damian (2014). Yukio Mishima. Reaktion Books. p. 208. ISBN 978-1-78023-419-9.
  175. ^ Jannarone, Kimberly (2015). Vanguard Performance Beyond Left and Right. Ann Arbor: University of Michigan Press. p. 95. ISBN 978-0-472-11967-7.
  176. ^ Murata 2015, pp. 71-95
  177. ^ Flanagan, Damian (2014). Yukio Mishima. Reaktion Books. p. 207. ISBN 978-1-78023-419-9.
  178. ^ Murata 2015, pp. 215-216
  179. ^ Mishima's An appeal (?, Geki)(last Manifesto) on 25 November 1970 was collected in complete36 2003, pp. 402-406
  180. ^ Sugiyama 2007, pp. 185-219
  181. ^ a b c Date 1972, pp. 109-116
  182. ^ a b Date 1972, pp. 117-122
  183. ^ a b Nakamura 2015, pp. 200-229
  184. ^ Ando 1998, pp. 319-331
  185. ^ a b Mochi 2010, pp. 171-172
  186. ^ "Japanese Stunned by Samurai-Style Suicide of Novelist Mishima". Chicago Tribune. November 26, 1970. p. 88. Archived from the original on February 29, 2020 – via Newspapers.com.
  187. ^ a b Kawabata, Yasunari (1971). "" [Yukio Mishima]. Shincho Extra Edition Yukio Mishima Reader (in Japanese). collected in Gunzo18 1990, pp. 229-231
  188. ^ Keene, Donald (1988). The Pleasures of Japanese Literature. New York: Columbia University Press. pp. 62. ISBN 0-231-06736-4. OCLC 18068964.
  189. ^ a b Yamamoto 2001, pp. 119-149, 192-237
  190. ^ Nakamura 2015, pp. 137-198
  191. ^ a b Jur? 2005, pp. 157-184
  192. ^ Nathan, John. Mishima: A biography, Little Brown and Company: Boston/Toronto, 1974.
  193. ^ Scott-Stokes, Henry (1971). "?" [Was Mishima great]. Shokun(Bungeishunj?) (in Japanese). collected in memorial 1999
  194. ^ Scott-Stokes 1985, pp. 25-27
  195. ^ Tokuoka 1999, pp. 238-269
  196. ^ a b Azusa 1996, pp. 103-164
  197. ^ a b c d e Azusa 1996, pp. 7-30
  198. ^ Date 1972, pp. 157-196
  199. ^ complete42 2005, pp. 330-334
  200. ^ Nakamura 2015, pp. 231-253
  201. ^ Kodama, Takaya (1970). "" [Unknown side of family man]. Josei Jishin (in Japanese).
  202. ^ Tokuoka 1999, pp. 238-269
  203. ^ Date 1972, pp. 271-304
  204. ^ Ando 1998, pp. 233-331
  205. ^ Shibata 2012, pp. 231-267
  206. ^ Komuro 1985, pp. 199-230
  207. ^ Notes of Confessions of a Mask is collected in complete27 2003, pp. 190-191
  208. ^ a b Inoue 2010, pp. 245-250
  209. ^ complete42 2005, pp. 540-561
  210. ^ Encyclo 2000, pp. 607-609
  211. ^ Itasaka 2010, pp. 19-48
  212. ^ Encyclo 2000, pp. 619-620
  213. ^ Suzuki 2005, pp. 111-188
  214. ^ Ando 1996, p. 428
  215. ^ Yamamoto 1980, pp. 290-298
  216. ^ Matsumoto 1990, p. 235
  217. ^ Azusa 1996, pp. 206-232
  218. ^ Matsumoto 1990, p. 244
  219. ^ Ando 1996, p. 446
  220. ^ Shelter, Scott (March 14, 2016). "The Rainbow Honor Walk: San Francisco's LGBT Walk of Fame". Quirky Travel Guy. Retrieved 2019.
  221. ^ "Castro's Rainbow Honor Walk Dedicated Today: SFist". SFist - San Francisco News, Restaurants, Events, & Sports. September 2, 2014. Archived from the original on August 10, 2019. Retrieved 2019.
  222. ^ Carnivele, Gary (July 2, 2016). "Second LGBT Honorees Selected for San Francisco's Rainbow Honor Walk". We The People. Retrieved 2019.
  223. ^ "Mishima and Bowie". Manwithoutquotes. January 8, 2017. Retrieved 2020.
  224. ^ "" [Yomiuri Prize for Literature]. Yomiuri Shimbun (in Japanese). Retrieved 2018.
  225. ^ "Candidates for the 1963 Nobel Prize in Literature". Nobel Prize. 2013. Retrieved 2014.
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  227. ^ Gattig, Nicolas (April 27, 2019). "Yukio Mishima's attempt at personal branding comes to light in the rediscovered 'Star'". The Japan Times. Retrieved 2020.
  228. ^ Margolis, Eric. "The Resurgence of a Japanese Literary Master: Fifty Years after his Death, Yukio Mishima is Reemerging in Translation." Metropolis. July 31, 2020.
  229. ^ Keene, Donald (2008). Chronicles of My Life: An American in the Heart of Japan. New York: Columbia University Press. p. 104. ISBN 978-0-231-14440-7. OCLC 173299185.
  230. ^ Mishima, Yukio (1966). "?( ?)" [The production intention and progress (film "Patriotism")]. Shinchosha (in Japanese). collected in complete34 2003, pp. 35-64
  231. ^ Fujii, Hiroaki (2006). "" [The path that the film "Patriotism" has taken]. Shinchosha (in Japanese). collected in complete-Se 2006 booklet
  232. ^ Hadfield, James (2020-03-26). "'Mishima: The Last Debate': Careful revival of a battle of wits". The Japan Times. Retrieved .
  233. ^ "web-magazine GYAN GYAN". matsuzack.jougennotuki.com.
  234. ^ Yamashita, Kunihiko (1991). [Ryuichi Sakamoto Complete Works] (in Japanese). Ohta Shuppan.
  235. ^ Mishima, Yukio (1969). "?-" [Lectures for Young Samurai: about politics]. Pocket Punch Oh! (in Japanese). collected in complete35 2003, pp. 58-60

Further reading

  • Mishima, Yukio (2003). 26?1 [Definitive Edition-Yukio Mishima complete works No.26-criticisms 1] (in Japanese). Shinchosha. ISBN 978-4-10-642566-0.
  • Mishima, Yukio (2003). 27?2 [Definitive Edition-Yukio Mishima complete works No.27-criticisms 2] (in Japanese). Shinchosha. ISBN 978-4-10-642567-7.
  • Mishima, Yukio (2003). 28?3 [Definitive Edition-Yukio Mishima complete works No.28-criticisms 3] (in Japanese). Shinchosha. ISBN 978-4-10-642568-4.
  • Mishima, Yukio (2003). 29?4 [Definitive Edition-Yukio Mishima complete works No.29-criticisms 4] (in Japanese). Shinchosha. ISBN 978-4-10-642569-1.
  • Mishima, Yukio (2003). 30?5 [Definitive Edition-Yukio Mishima complete works No.30-criticisms 5] (in Japanese). Shinchosha. ISBN 978-4-10-642570-7.
  • Mishima, Yukio (2003). 31?6 [Definitive Edition-Yukio Mishima complete works No.31-criticisms 6] (in Japanese). Shinchosha. ISBN 978-4-10-642571-4.
  • Mishima, Yukio (2003). 32?7 [Definitive Edition-Yukio Mishima complete works No.32-criticisms 7] (in Japanese). Shinchosha. ISBN 978-4-10-642572-1.
  • Mishima, Yukio (2003). 33?8 [Definitive Edition-Yukio Mishima complete works No.33-criticisms 8] (in Japanese). Shinchosha. ISBN 978-4-10-642573-8.
  • Mishima, Yukio (2003). 34?9 [Definitive Edition-Yukio Mishima complete works No.34-criticisms 9] (in Japanese). Shinchosha. ISBN 978-4-10-642574-5.
  • Mishima, Yukio (2003). 35?10 [Definitive Edition-Yukio Mishima complete works No.35-criticisms 10] (in Japanese). Shinchosha. ISBN 978-4-10-642575-2.
  • Mishima, Yukio (2003). 36?11 [Definitive Edition-Yukio Mishima complete works No.36-criticisms 11] (in Japanese). Shinchosha. ISBN 978-4-10-642576-9.
  • Mishima, Yukio (2004). 37? [Definitive Edition-Yukio Mishima complete works No.37-Poetry] (in Japanese). Shinchosha. ISBN 978-4-10-642577-6.
  • Mishima, Yukio (2004). 38? [Definitive Edition-Yukio Mishima complete works No.38-Letters] (in Japanese). Shinchosha. ISBN 978-4-10-642578-3.
  • Mishima, Yukio (2004). 39?1 [Definitive Edition-Yukio Mishima complete works No.39-Dialogues 1] (in Japanese). Shinchosha. ISBN 978-4-10-642579-0.
  • Mishima, Yukio (2004). 40?2 [Definitive Edition-Yukio Mishima complete works No.40-Dialogues 2] (in Japanese). Shinchosha. ISBN 978-4-10-642580-6.
  • Mishima, Yukio (2004). 41?(CD) [Definitive Edition-Yukio Mishima complete works No.41-Voices(CD)] (in Japanese). Shinchosha. ISBN 978-4-10-642581-3.
  • Sat? Hideaki; Inoue Takashi; Yamanaka Takeshi, eds. (2005). 42? [Definitive Edition-Yukio Mishima complete works No.42-Biographical sketch and Bibliography] (in Japanese). Shinchosha. ISBN 978-4-10-642582-0.
  • Mishima, Yukio (2005). ? [Definitive Edition-Yukio Mishima complete works Supplementary volume-Addenda, Indexes] (in Japanese). Shinchosha. ISBN 978-4-10-642583-7.
  • Mishima, Yukio (2006). (DVD) [Definitive Edition-Yukio Mishima complete works Separate volume-movie "Patriotism"(DVD)] (in Japanese). Shinchosha. ISBN 978-4-10-642584-4.
  • Mishima, Yukio (2005). ? [The Voices of the Heroic Dead: Original version] (in Japanese) (Paperback ed.). Kawadeshoboshinsha. ISBN 978-4-309-40771-5. First original edition published 1966.
  • [New Literature Reader: Yukio Mishima] (in Japanese). Kawadeshoboshinsha. 1990. ISBN 978-4-309-70155-4.
  • ?42 [Collection of memorial text to modern writers 42: Yukio Mishima] (in Japanese). Yumanishobo. 1999. ISBN 978-4-89714-645-4.
  • Akiyama, Shun; Et?, Jun (1990). -?18 [Yukio Mishima: Sculptured group of Japanese author 18] (in Japanese). Shogakukan. ISBN 978-4-09-567018-8.
  • And?, Takeshi (1996). ["Daily record" of Yukio Mishima] (in Japanese). Michitani. ISBN 978-4-915841-39-2.
  • And?, Takeshi (1996). [The life of Yukio Mishima] (in Japanese). Natsumeshobo. ISBN 978-4-931391-39-0.
  • Date, Munekatsu (1972). ? [Judicial record of "Mishima Incident"] (in Japanese). Kodancha. NCID BN0140450X.
  • Etsugu, Tomoko (1983). [Yukio Mishima: Trajectory of his literature] (in Japanese). Koronsha. NCID BN00378721.
  • Fukushima, Jir? (1998). -? [Yukio Mishima: Sword and Winter red] (in Japanese). Bungeishunj?. ISBN 978-4-16-317630-7. This book is out of print now, for copyright violation.
  • Fukusima, jur? (2005). ? [Re-edition Document: Yukio Mishima] (in Japanese) (enlarged ed.). Chobunsha. ISBN 978-4-88695-180-9. First edition published 1989.
  • Hiraoka, Azusa (1996). ? [My son: Yukio Mishima] (in Japanese) (Paperback ed.). Bungeishunj?. ISBN 978-4-16-716204-7. First edition published in May 1972.
  • Honda, Sh?go (2005). (?) [Story: Postwar literary history (first volume)] (in Japanese). Iwanami gendai bunko. ISBN 978-4-00-602091-0.
  • Hosaka, Masayasu (2001). [Yukio Mishima and the Tatenokai Incident] (in Japanese). Kadokawa Bunko. ISBN 978-4-04-355602-1.
  • Inose, Naoki; Sato, Hiroaki (2012). Persona: A Biography of Yukio Mishima. Berkeley CA: Stone Bridge Press. ISBN 978-1-61172-524-7. OCLC 826479168.
  • Inose, Naoki (1999). ?- [Persona: A Biography of Yukio Mishima] (in Japanese) (Paperback ed.). Bungeishunj?. ISBN 978-4-16-743109-9. First edition published in November 1995.
  • Inoue, Takashi (2010). ?- [Reading the Yukio Mishima's posthumous work which was not exhibited in public: Another The Sea of Fertility] (in Japanese). Kobunsha. ISBN 978-4-334-03594-5.
  • Isoda Koichi, ed. (1983). ?20 [Shincho Album for Japanese literature No.20 Yukio Mishima] (in Japanese). Shinchosha. ISBN 978-4-10-620620-7.
  • Itasaka, G? (1998). -? [A true theory/Yukio Mishima: Mysterious urheimat] (in Japanese). Natsumeshobo. ISBN 978-4-931391-44-4.
  • Itasaka, G?; Suzuki, Kunio (2010). [Yukio Mishima and 1970] (in Japanese). Rokusaisha. ISBN 978-4-8463-0772-1.
  • It?, Katsuhiko (2006). ? [Last romantic: Yukio Mishima] (in Japanese). Shinyosha. ISBN 978-4-7885-0981-8.
  • Iwashita, Hisafumi (2008). [A love found: Sailing into "The Temple of the Golden Pavilion"] (in Japanese). Yuzankaku. ISBN 978-4-639-02024-0.
  • Iwashita, Hisafumi (2011). ?-... [The face with no mask: When Yukio Mishima meet a his woman...] (in Japanese). Yuzankaku. ISBN 978-4-639-02197-1. Paperback edition published in November 2016.
  • Kawabata, Yasunari (1980). ?10? 10 [Yasunari Kawabata complete works No.10-Novels] (in Japanese). Shinchosha. ISBN 978-4-10-643810-3.
  • Kimura, Tokuz? (1995). ? [Literary editor's wartime and postwar] (in Japanese). Ozorasha. ISBN 978-4-7568-0007-7.
  • Komuro, Naoki (1985). ? [Yukio Mishima will be resurrected] (in Japanese). Mainichi Communications. ISBN 4-89563-901-0. Reprint edition published in November 2002 and April 2019.
  • Matsumoto, T?ru (1990). [Yukio Mishima: Author's Chronological Reader] (in Japanese). Kawadeshoboshinsha. ISBN 978-4-309-70052-6.
  • Matsumoto T?ru, ed. (2010). ? 175- ["Separate volume Taiyo" Hearts of Japan 175: Yukio Mishima] (in Japanese). Heibonsha. ISBN 978-4-582-92175-5.
  • Mitani, Makoto (1999). [My classmate: Yukio Mishima] (in Japanese) (reprint ed.). Chukou-bunko. ISBN 978-4-12-203557-7. First edition published in July 1985.
  • Mochimaru, Hirosi; Sat?, Matsuo (2010). ? [Testimonies: The only once showdown between Yukio Mishima and Tsuneari Fukuda] (in Japanese). Bungeishunj?. ISBN 978-4-16-373250-3.
  • Morita, Masakatsu (2002). ?- [My thoughts and actions: Collection of manuscripts] (in Japanese) (New format ed.). Nisshin houdou. ISBN 978-4-8174-0528-9. First edition published 1971.
  • Muramatsu, Takeshi (1990). [The world of Yukio Mishima] (in Japanese). Shinchosha. ISBN 978-4-10-321402-1. Paperback edition published 1996.
  • Murata, Haruki (2015). - [The period when Yukio Mishima lived: The Tatenokai and Masakatsu Morita] (in Japanese). Seirindo. ISBN 978-4-7926-0532-2.
  • Nakamura, Akihiko (2015). ? ?- [Another protagonist of Mishima Incident: Masakatsu Morita who called Upright man] (in Japanese). Wakku. ISBN 978-4-89831-729-7.
  • Nathan, John (1974). Mishima: A biography. Boston/Toronto: Little Brown and Company. ISBN 978-0-316-59844-6.
  • Nathan, John (2000). -? ["New edition" Mishima: A biography] (in Japanese). Translated by Takehiko Noguchi (Revision ed.). Shinchosha. ISBN 978-4-86410-028-1. Old edition published in June 1976. (Old edition was out of print due to Mishima's family's claim that the book had parts of what they didn't say.)
  • Nishi, Houtaro (2020). ? 50- [Testimony of the 50th year of the Yukio Mishima Incident: What did the police and the Self-Defense Forces know] (in Japanese). Shinchosha. ISBN 978-4-10-353581-2.
  • Nosaka, Akiyuki (1991). - [Brilliant backlight: Personal opinion about Yukio Mishima] (in Japanese) (Paperback ed.). Bungeishunj?. ISBN 978-4-16-711912-6. First edition published in November 1987.
  • Okayama, Norihiro (2014). ? [The Side story of Yukio Mishima] (in Japanese). Sairyusha. ISBN 978-4-7791-7022-5.
  • Okuno, Takeo (2000). ? [Legend of Yukio Mishima] (in Japanese) (Paperback ed.). Shincho. ISBN 978-4-10-135602-0. First edition published in February 1993.
  • Sat? Hideaki; Inoue Takashi; Matsumoto T?ru, eds. (2000). ? [Encyclopedia of Yukio Mishima] (in Japanese). Benseishuppan. ISBN 978-4-585-06018-5.
  • Sat? Hideaki; Inoue Takashi; Matsumoto T?ru, eds. (2006). ?2? [Yukio Mishima and Movies: Research of Yukio Mishima No.2] (in Japanese). Kanae shobo. ISBN 978-4-907846-43-5.
  • Sat? Hideaki; Inoue Takashi; Matsumoto T?ru, eds. (2011). [Testimony of the same age: Yukio Mishima] (in Japanese). Kanaeshobo. ISBN 978-4-907846-77-0.
  • Scott-Stokes, Henry (2000) [1974]. The Life and Death of Yukio Mishima (1st Cooper Square Press ed.). New York: Cooper Square Press. p. 130. ISBN 0-8154-1074-3. OCLC 44313407.
  • Scott-Stokes, Henry (1985). -? [The Life and Death of Yukio Mishima] (in Japanese). Translated by Takao Tokuoka. Diamond-sha. ISBN 978-4-478-94056-3. Revision edition published in November 1998(Seiryu-shuppan). ISBN 978-4-916028-52-5
  • Scott-Stokes, Henry; Kase, Hideaki (2012). ? [Reason why America set a trap of the war against Japan] (in Japanese). Shodensha-shinsho. ISBN 978-4-396-11287-5.
  • Seikai, Ken (1992). ?-? [Yukio Mishima and Nietzsche: Tragic culture and Irony] (in Japanese). Seiky?sha. ISBN 978-4-7872-9066-3.
  • Seikai, Ken (2000). - [Return of Yukio Mishima: Seikai Ken criticism collection] (in Japanese). Ozawashoten. ISBN 978-4-7551-0393-3.
  • Setouchi, Jakucho; Miwa, Akihiro (2003). ? [Pin-pon-pan: Talk for two] (in Japanese). Shueisha. ISBN 978-4-08-775295-3.
  • Shibata, Sh?ji (2012). [Yukio Mishima: Road to the self-determination hidden in his works] (in Japanese). Shodensha. ISBN 978-4-396-11300-1.
  • Shiine, Yamato (2012). [Full version: Yukio Mishima of "Heibon-Punch"] (in Japanese). Matsurikasha(Kawadeshoboshinsha). ISBN 978-4-309-90963-9. First old edition published in March 2007 by Shinchosha.
  • Shimauchi, Keiji (2010). -? [Yukio Mishima: Flows into The Sea of Fertility]. Minerva Japan biography selection (in Japanese). Minerva-shobo. ISBN 978-4-623-05912-6.
  • Sugiyama, Takao (2007). ? [Yukio Mishima who could not become a "Soldier"]. Heishi (in Japanese). Shogakukan. ISBN 978-4-09-379773-3. Paperback edition published in April 2010.
  • Suzuki Ayumi; Tamura Tsukasa, eds. (2015). -? [Whereabouts of the fire group: The trajectories of their hearts who once belonged to the Tatenokai] (in Japanese). Hakurosha. ISBN 978-4-434-07066-2.
  • Tokuoka, Takao (1999). ?-? [Decayed Angel: Private Notes about Yukio Mishima] (in Japanese) (Paperback ed.). Bungeishunj?. ISBN 978-4-16-744903-2. First edition published in November 1996.
  • Yamamoto, Kiyokatsu (1980). - [Yukio Mishima, An anguish verse of Motherland Defense: The road to the Ichigaya decision and the truth] (in Japanese). Nihon Bungeisha. NCID BN10688248.
  • Yamamoto, Kiyokatsu (2001). - [Japan Self-Defense Forces "A unit of Shadow": Confession of truth killed Yukio Mishima] (in Japanese). Kodansha. ISBN 978-4-06-210781-5.
  • Yuasa, Atsuko (1984). [Roy & Kyoko] (in Japanese). Chuoukoronsha. ISBN 978-4-12-001276-1. Atsuko Yuasa () was an old friend of Mishima, and her house was model of Ky?ko no Ie (?, "Ky?ko no Ie").

External links


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