1970 1 1 On 25th, the Japanese writer Yukio Mishima, who had just finished writing his last work, Fifty Years of Heaven and Man, led four members of the Shields Society and rushed into the Japanese Self-Defense Force station near Shinjuku, Tokyo, threatening the head of the team, Yi Tian Jian. Then he gave a ten-minute speech on the balcony to 1000 members of the Japanese Self-Defense Force who heard the news. The speech was full of contempt for the Japanese government's abandonment of weapons and advocating Japanese militarism and bushido spirit, but it was met with a cold reception on the balcony. After doing a series of things in ridicule and ridicule, he retired indoors and committed suicide with his colleague Morita in accordance with the traditional practice of Japanese samurai. When he committed suicide, "Seven lives for the country" was written on his forehead. The companions of the same trade cut several knives before they dropped their heads on the ground, which was the market valley incident that later shocked Japan and even the world.

Jung, a psychologist, said: "A person's efforts all his life are aimed at integrating the character he has formed since childhood." When we follow the author Stokes to gradually uncover Mishima's childhood experience, which was named Hiraoka Gong Wei at that time, and try to explain Mishima's unusual sensitivity to life and death in future literature through those existing clues, we can easily find that it is particularly important for him to be imprisoned by his grandmother as a child, trapped in the attic, and never see his birth mother again.

"On the forty-ninth day after I was born, my grandmother took me away from my mother on the pretext that it was too dangerous to raise a baby on the second floor. She locked me in her ward all day, full of suffocating pain and old smell. Her bed is side by side with mine, and I grew up in this environment. "

Closed, crowded, suffocating, decadent and isolated constitute most of Gong Wei's memories when he was a child. It may be that Mishima's life experience is so different from ordinary people, which leads to another interpretation of life. It is because of the loneliness of living alone that he has a keen perception and profound thinking about everything around him. It is precisely because of the loss of his due affection that he has multiple interpretations of life itself, sensitive and inferior, lacking in self-confidence, cowardly and timid, and even narcissism and vanity are almost opposite in the end. The shaky personality foundation made him later. Just like in his autobiography debut, masked confessions, hypocritical performances and timid monologues can be seen everywhere in interpersonal communication.

Because of the poor living conditions in childhood, Yukio Mishima was physically weak in his youth, but at the same time, he became infatuated with and yearned for the healthy and strong bodies in Greek statues. At the age of 30, he began to thoroughly implement his ideas about body aesthetics to every muscle of his body through hard fitness. Strong body and weak spirit make Mishima have a deeper exploration of what aesthetics is.

In Japanese traditional literature, there are also profound descriptions and expressions of natural aesthetics and spiritual feelings, but they are more willing to communicate with their hearts in perception and produce perceptual expressions through spiritual interpretation of external things, and rarely involve the rational level or thinking level, which may be the reason why the sensitive Mishima is different from or even superior to other Japanese writers. The writing is delicate and profound, full of emotion, but the plot of the novel is constantly promoted by thinking, and the mental journey of the characters in the pen has a very clear logical context.

Reading his novels, it is not difficult to see that besides perceptual processing and rational deconstruction, it also has more profound and complex style characteristics. No matter the layout of the plot, the design of the characters, and the depth of thought expressed, readers can only feel the power contained in his words with rapt attention, which is masculine, feminine, violent, emotional and intense, and will never rest until death. The ultimate beauty revealed by trying to break through all kinds of imprisonment around you is ready to come out.

Death has made Mishima's literature and Mishima's life. Mishima, with serious right-wing militarism in the later period, chose to end his life's creation in an extreme way and at the same time complete his ultimate pursuit of so-called aesthetics. Beauty and violence have always run through Mishima's life. Mishima's pursuit of the final destination of aesthetic feeling can only bloom when his hand raises his knife and falls. As for why he chose to hold a world-famous ceremony for his death in such a shocking way, as the author expressed in the book, the catharsis of literature could not free himself, so he burned his last life with more intense and cruel actions. Perhaps it is such a distorted or even abnormal behavior in the eyes of outsiders, but it has a reasonable motive in the heart. Even the bloodiest plot is full of romantic style. Well, let's make an uncompromising farewell to the world in the way that suits Yukio Mishima best.

As many people say, life is a trial-and-error experience, or thinking about the ultimate problem of life is not suitable for the general public to discuss and study. This is not a question of whether God will laugh, but the final feeling that human beings get after trying to see through all external desires and internal karma, which may not sublimate their current situation, and the fog will gradually disperse and it will be difficult to get rid of it. The tragedy of Yukio Mishima is that he had an epiphany about his life too early, so he had a longer time to bear what he wanted, and the confrontation with the whole world was doomed to be full of holes. Since he can't surrender, there is no future.

Stokes, the author of this book, was a close friend of Mishima before his death. Perhaps he witnessed the flash, struggle, drift and fall of such a great writer, so he set out to write the writer's life track. It is precisely because of this book that readers are lucky enough to see Mishima more cruelly through such powerful works as Shaman Confession, Jingu Temple and Fenghai.

As Mo Yan wrote in his Yukio Mishima Conjecture: "From the moment his head fell to the ground, a lotus flower lit up all his literature and his whole life. From then on, Mishima and Mishima literature will be immortal. "

1970 1 1 On 25th, the most gorgeous cherry blossoms in the history of Japanese literature fell.