青年の「心」青年の心を「美しい」「文字」にした作品です。多くの人が青年時代（思春期）に「私」と「私以外」（親も、学校も、自然や自分の肉体でさえ）の分離に悩んだと思います。肥大していく「自己（自我）」と「相対的に小さくなっていく」「まわり」との乖離です。自分の身体でさえ、自由にならず、自己を持て余すのです。
そのために、思考と現実が乖離していくのです。それを三島は美しい文章で見事に描いています。でも、三島が問いかけているのはその「美（美しさ）」です。「美は現実に存在するのか。美が現実の存在となるのか、なりうるのか。」
空想（幻想、夢想、想像、思念、観念、思考、思惟・・・あるいは記憶。三島は的確に使い分けていると思うけど）の金閣寺と現実（実在、存在）の金閣寺との乖離、美と現実との乖離をずっと描いているのです。三島の文章、つまり「文字」に三島は思惟と現実の「橋渡し」の可能性を見続けていたのです。だから、三島の文章は「美しい」のです。
それは天才の画家、写真家が作品という「美」を作り出すのと同じです。それは、対象（被写体）を超えた「美しさ」があるという人もいます。例えば「風景画」は現実の風景より美しい（可能性がある）のでしょうか。
化粧をした「女の子」は、現実の（すっぴんの？）女の子より可愛い（美しい）のでしょうか。（笑）
可愛いと思ってしまいます。もちろん、化粧のうまい、下手はあります。でも、「マニュアル」通りに化粧をすれば、（時代に合った）可愛い女の子になれます。
今の「量産女子」はその典型ですよね。そして写真を撮るときは「目が大きくなるアプリ」。わたしはもともと、人を見分けることが苦手なので（どうも見ているところが他人と違うようです）そういう写真を見ると、みんな同じに見えます。もう「オジサン（おじいさん）」だからでしょうか。いまの若い男の子はそこに違いを見つけられるのでしょうか。
それでは「美人（可愛い女の子）」は「存在する」のでしょうか。なんか、時代を超えた「美」が存在していてほしいですよね。「概念としての美」です。
「モナ・リザ」があるじゃない、という人もいるかも知れません。わたしは「モナ・リザ」が好きです（実物を見たことはないけど）が、皆さんはどうですか。「モナ・リザ」は「美しい」ですか。
「美は時代とともに変わる」と言ってしまえる人は『金閣寺』を読む必要はありません。「建設当時」金閣寺は美しかった、だけど今は違う、と思えるでしょうから。三島が書きたかったのは「時代も空間も超える美」です。ドイツ哲学風に言えば「概念（本質）としての美とその現象形態」です。
金閣寺の構造
金閣寺は一階の「法水院」と二階の「潮音洞」は寝殿造風、そして三階は禅堂仏堂風の「究竟頂」です。
どうやら人間は「３」という「数」が好きなようです。「２」は自然にあります。「１，２」までしかない言語はたくさんあるでしょう。「３」は特別な数です。自然からの自我の飛躍（離陸）の数なのです。
アリストテレスの論理学（三段論法）から「正・反・合」のヘーゲルの弁証法まで、論理の基礎は「３」です。
今でも、平屋と２階建ては普通ですが、三階建以上は特別です。「３」以上は「１０」でも「１００」でもあまり関係ありません。というか、「１から２」「２から３」は「質的変化」なのです。「３」以上は量的変化でしかありません。
卑近な例を挙げれば、一人の人間が伴侶を見つけて夫婦になります。子どもをもってはじめて「親」になります。後は何人子どもができても「親」は変化しません（笑）。孫ができれば「祖父母」になりますが、それは子どもが一人前になったということで、子を持つほどの変化ではありません。
法隆寺の１階は「子供時代」、２階は「青年時代（思春期）」、そして３階が「大人」なのではないでしょうか。だから、主人公の溝口は３階を目指すのです。その方法の一つは、仏になること、悟りをひらく（「拓く」かな？）ことです。宗教の道に入り、「信仰」すること。でも、溝口はそれに甘んじることはできませんでした。それは、老師に対する彼の期待と絶望（嫌悪）に現れています。老師は３階に至る別の道ーーそれは２階から外に出る道でもありますーーも体現しています。
溝口は、その道を「嗽清」に見つけています。３階に生きたまま（仏様にならずに）辿り着ける人は殆どいません。だから、金閣寺には「その均衡を破るように」嗽清があるのです。建前上は有ってはいけない道、その明らかな存在をほとんどの人が「忘却」している（見えないふりをしている）道を、ほとんどの人が通るのです。「大人は教えてくれない」のです。忘れている（フリをしている）のです。そして子供には「理想（理念）」を語ります。
認識か行為か
二人の友人、鶴川と柏木はそれぞれ「理想」と「現実」です。そしてその理想が「俗人」だと知ります。「恋愛」なる「欲望、俗なるもの」のために自ら死を選ぶ鶴川です。
そして、柏木が「俺は君に知らせたかったんだ。この世界を変貌させるものは認識だと。」（P.380）というのに対して、溝口は「世界を変貌させるのは行為なんだ。それだけしかない。」（P.381）といいます。まるでマルクス主義者です。三島はそれが念頭にあったのでしょうか。彼ほどの博識ですから、当然意識はあったでしょう。今は（現世は）「すべての終わり」ではありません。「人類の前史（の終わり）」であり、「幼年期（の終わり）」です。
マルクスを１９世紀に閉じ込めようとする説がありますが、それはあまりにも狭すぎます。西洋哲学史の中に正しく位置づけ、その一つの極地とみなさなければならないと思います。若いヘーゲルを見つけて引き継いだのだとわたしは思っています。
認識で世界を変えるというのは、哲学が陥りやすい暗黒面です。それは、認識自体の否定、理性から狂気への道、宗教への道です。それで本人は楽になるかもしれません。楽になったと思いこむことも可能です。でも、現実は変わりません（現実は常に変わっていますが）。溝口にはそれはできなかった。許せなかったのです。彼は「ずっと考え続けていた」から。「してみると私の永い周到な準備は、ひとえに、行為をしなくてもよいという最後の認識のためではなかったか。（LF）見るがいい。今や行為は私にとっては一種の剰余物にすぎぬ。」（P.453）とまで。
肉体、性
そして溝口は「三階構造」、金閣寺そのものをなくそうと思い、火をつけます。それは「自分（自己・自我）」を「対象（客観・客体・現実）」である金閣寺もろともなくしてしまおうとしました。「認識」だけを考えるなら、鶴川のように自分が死ぬ（自殺する）だけで、自分の中の金閣寺も無くなってしまいます（睡眠薬と小刀も買っていた）。でも、溝口にはそうは思えなかったのです。だから「行動」するしかなかった。理性（精神、自我）ではなく肉（肉体）として。
この小説には何度も肉体が出てきます。はじめは「吃る」自分の肉体、意識を隔離・独立させるもとして出てきますが、それはすぐに「有為子」という実態を伴った「性」になります。自我の肥大化が思春期というものと重なっています。だから、「生＝性＝肉感的」なのです。生きることそのものが「エロス」「官能的」なので、それは否定したいけど不可能なのです。それは、俗なるもの（生）を「性（女性）」として金閣寺と同列に置くことでもあり、金閣を俗化するものでもありますから、受け入れられません。ですから、欲望は女性とともに金閣寺によって出口を塞がれるのです。
自分の肉体そのものは副次的なものになります。「餓えていた」ことが何度か書かれますが、そこに女性や金閣寺に対するような悲壮感はありません。
女性は「現実」です。「性的」であり、「手が届かぬ」という意味では、金閣寺よりも「聖なるもの」です。だからこそ、それを諦めることでしか金閣寺には近づけないのです。その意味では、溝口は「行動」よりも「認識」を大切にしていると言えます。
三島はオナニーについてどう考えていたのでしょうか。持て余した自己の肉体に対する性的な関係です。明らかな「行為」です。ほかの本に書かれていそうですが。
究竟頂は開かない、入れない
その肉体は、幾度となく溝口の精神に襲いかかります。そのたびに助けた、あるいは阻止したのは金閣寺です。今、その金閣寺に火を放ったときに金閣寺はもう助けにも、阻止をしにもきてくれません（ここで、童話なら助けに来てくれるかもしれません。そう期待する読者もいるかもしれません。でも実際に燃えてしまったし、燃えなければならなかったと思います）。溝口は１階から２階へと逃げます。それはまさしく溝口自身が通ってきた道です。そして、はからずも溝口は３階へと逃げ込みます。「逃げる」という行為が既に溝口の（三島自身の）敗北を示唆しています。
その「逃走」は後年、浅田彰さんによって（あるいはドゥールーズによって）文章化されます。「逃げる」は「逃げろ」に装飾されて。そして近年「逃げ恥」となりました。
そして３階「究竟頂」の扉、「自我の克服の扉」は開きません。そのときに溝口に襲ってきたのは「金閣寺の拒否」という形をとった彼自身の「肉＝生」の反撃・回帰なのではないでしょうか。金閣寺に拒否られることで彼は「生」を取り戻したのだろうと思います。そして、遊郭で夢でも現実でも無くなった「性の回復」も追いてくるでしょう。
逃げ出すときに「嗽清」を通ったとは書いてありません。そのことは問題ではないのかもしれません。金閣寺自身（本体）を滅ぼしたのですから、その付随物である「嗽清」の象徴的な意味ももうないからです。それに彼は「肉（体）」を自覚してしまったのです。
悪はいかにして可能か
もし、究竟頂に入れたら、そして生き延びたとしたら、溝口はどうなったでしょう。
仏、聖人、あるいは仙人のようになれたでしょうか。なれたかもしれません。でも、その時彼は世間の目から「見えなくなっている」のではないでしょうか。
あるいは「究竟頂」で火を逃れた後、「嗽清」を通って「地上（現世）」に戻ってきたかもしれません。その時、彼は「英雄（受難者）」となり、老師（禅、宗教、融和した人間、現実の理想、折り合いをつけた人間）となったでしょう。弁証法的昇化に失敗した人間的な人間に。それこそが「悪をなす」ことそのもの（本質）ではないでしょうか。悪という概念が「可能になる」ことによってはじめて、善が可能になるのです。
生き残ったもの・生き延びたもの
思春期は、生死をかけた戦いです。青春はその日本語が示すようにピンクであるよりもブルーです（ピンクだった人もいるかも知れません。いずれにしても「後から想うもの」です）。それを生き延びた者、生き残った者だけが大人になれます。
それは、世界との一体感（母との一体感）から離れ、自我を自覚することから始まります。そして、成人の通過儀礼を経て「大人」になります。日本で成人のイニシエーションが行われなくなってどのくらい経つのでしょうか（成人式がそれとは無縁なことは明らかです）。半世紀から１００年程度ではないでしょうか。地方では青年組織（「若者組」など）が近年まで存続していました。
若者組は知識、経験などに基づく自治組織です。「夜這い」というのは、「浮気」だけではなく、青年の性の営みで、若者組が関わっていました。
もう、それを知っている人も少ないでしょうね。戦争（太平洋戦争）を知っている人も少なくなってきました。経験した人はそれを記憶しています。記憶は再生産されます。再生産されることによって残り（持続され）ます。自己の内部で再生産されるとともに、それは他者の中でも再生産されます。いずれにしても記憶は「死」とともになくなります（と思います）。再生産（作り直す）ですから、それは「常に変わる可能性」があります。戦争を経験した人が減るに従って「歴史」が変わっていくのはみなさんも経験しているでしょう。
自分の記憶が変わらないと思っている人は多いと思います。でも、それは常にその時の環境（経験も含む）によって再評価されながら再生産されていきます。再生産されないものはなくなります。なくなるからこそ、それは世代を超えて生き残るのです。
「不滅のものは滅ぼすことができる」というのは、常に変わるものは滅ぼすことができないということです。たとえば、「老師」を殺すことはできます。でも、誰かが代わりに老師になります。それが「溝口」である可能性はありますが。でも、不滅と思われている金閣寺は「壊すこと」ができるのです。
「記録」というものがあります。「文字」として残ることから「歴史」が始まります。昔は書類や本、今は「デジタルデータ」として残ります。
多くの本が失われました。「デジタルデータ」はどのくらい残るでしょうか。じつは（？）記憶と同じように、再生産されたものだけが残ります。昔は書写、そのあと印刷、そしてデジタルデータの複写。再生産されなかったものは残りません。デジタルデータはそれが顕著です。フロッピーディスクはもう読めません。初期のCDも音楽ディスクにしろ、データディスクにしろ多くが消えつつあります。ハードディスクは予め記憶再生回数が決められていますから（故障を前提に作られ、使用される）、常に新しいもの（そして容量の大きいもの）と交換されます。その時「移行（コピー）」されなかったデータは失われます。失われたデータを復元する技術（単なるリカバリーではなく、失われた部分をアルゴリズムによって補完する技術。ディープフェイクの技術もそれですね。でも、それはあくまでも作られたデータであって、元のデータ「そのもの」ではありません。アルゴリズムによって「恣意的」に作られたものです）が作られていますが、記述・書写と同じように、その技術が時の権力者に都合のいいように利用されます。
歴史とはまさしく、そして文字とはまさしく、具体の抽象です。売れなかった本は、決して名作にはなりません。（残らないーデジタル化社会では特に）
全体と部分。一般と特殊。
全体は部分の集合ではありません。部分もまた一つの全体であり、全体もまた他の全体の一部なのです。それは、個人の集まりが社会ではないということです。溝口の不安、悩み、幸や不幸なども、一面で見れば、溝口の認識である自己（自我）と対象（人間関係、社会）とのギャップから生じたものです。
部分（特殊）に主眼を置けば「自己中」になります。「自己犠牲」も同じことの裏返しですね。全体に主眼を置けば、全体主義になりますが、その「全体」に「自分」が入っていないことも多い。「他人のことを考えろ」とか「クラスのこと」「社会のこと」・・・を考えろ、というのも同じですね。カントの「他人を手段ではなく、目的として扱え」というのも自我を中心にした考えで、結局は一手段でしかないのです。
全体と部分は「自己（自我）」を認める限り、解けない関係です。わたしの知る限り、その萠芽と確立は古代ギリシャ哲学にあります。ソクラテス（という個人）がポリス（という社会）に死刑を言い渡され、それに従って素直に死んだことをプラトンは嘆くように書いていますが、そこに原罪の認識があります（イエス・キリストが生まれる３００年以上前のことです）。プラトンは「自我」を以て社会に応えたのです。それ以降ヘブライズムと融合した西洋社会は「自我をもって（論理をもって）社会に対応する歴史」です。そこには絶対の和解はありません。どう「折り合い」をつけるかで様々な思想や哲学、政治、宗教、科学等が現れました。それぞれがくっつき、離れ、発展と見えることもあれば、衰退と見えることもありました。でも、それらが絶対の和解ではなく、折り合いでしかありえない以上はそれぞれを突き詰めていくとそれ以上遡れない所、例えば数学での「公理」のようなものに突き当たります。「我思うゆえに我あり」もそうですね。究極の思考でありながら、「考えることの放棄」「諦め」でもあります。溝口の「認識と行為との関係」もそれを論理で説明することはできません。それは論理を超えているのです。
三段論法で、AならばB、BならばC・・・と続けていくことは可能ですが、最初のAの選択は論理以前です。（『国家の品格』藤原正彦）
戦前、戦中、戦後
NHKの「１００分de名著」で『金閣寺』を取り上げていました（この本を読もうと思ったのはそれがきっかけです）。第１夜を観て、残りは本書の読後に観ました。
講師は平野啓一郎さんです。彼は、戦争を生き残った三島が戦後社会に溶け込もうとしたが、戦後社会の無節操さなどに批判的だった、というような話をしていました。戦後の１８０度の価値の転換などということも言っていたと思います（うる覚えです）。
確かに、三島はその青年期に戦争を通過しました。溝口と同じです。三島も幼い頃吃音だったようです。これも溝口と同じです。溝口は、金閣寺放火犯人というより三島自身です。
ところで、敗戦は「考えの１８０度の価値転換」だったのでしょうか。逆に言うと三島の天皇制の考え方は復古主義だったのでしょうか。そうは思えないのです。前者は事実として、後者は希望として。
前者は国民の殆どがそれを受容した（生き続けた）という明確な事実があります。「文化はそれを受容する素地があるところにだけ伝播する」というような説があります（怪しいけど）。だとすれば、戦後の価値を日本人が受け入れたのはその素地があったからです。敗戦は断絶ではなくて、一つの連続なのです。大日本帝国憲法とそのもとでの議会、「普通」選挙制度を始め、財閥、土地所有などの私有制度、新聞・ラジオなどのマスコミ、等々、殆どのものは戦前からあったものです。
それらは全て、文字文化がもたらしたものです。もちろん「科学」もです。「自我による客観視」「対象としての自然・他者・社会」などの「自明のこと」は「文字」という「自己の客体化」、「音声である声の視覚化・定在化」「時間と場所の超越化」がもたらしたものです（それぞれが逆の関係を含んでいます。述語が主語を存在たらしめる）。識字のもたらす社会変化は、敗戦の価値転換とは比べ物になりません。植民地化がもたらす社会変革は破壊的です。アメリカインディアンやアイヌ民族が典型的な例ですが、南アメリカや東南アジアなど、現在でも日々その悲劇は繰り広げられています。
永い思春期
一度大地から離れてしまった者、自然を客観視することで一体性を失った者はもとに戻ることは困難です。私たちが「子どもに戻ることができない」と思ってしまう最大の要因はそこにあります。
でも、わたしたちはそこに戻りたいのです。わたしたちが自然の一部だからではなく、わたしたちが自然だからです。
溝口が（そしてたぶん三島も）襲われ、それに金閣寺とともに対抗しようとした「肉」が常に精神を侵そうとします。それに抵抗している間は常に「思春期」を生きているのです。識字が広まっていくにつれ（識字率99%というのは目立たないけど、決定的な嘘です）、死ぬまで「思春期」を生き続ける人が増えていきます。大きな目で見れば、古代ギリシャ以降の西洋（それは地球規模に広がっています）はずっと「思春期の歴史（＝文字）」なのです。
最近、グリム童話を読む機会がありました。童話（昔話、おとぎ話）は口承文化です。そこには、文字文化（論理）では説明できない「人びとの心をつかむもの」があります。それがあるからこそ語り継がれてきたのです。それは柳田国男の「常民の常識」に通ずるものがあります。その「何か」が「文字文化」を生み出す源流にあります。それがなくなれば「文化」自体がなくなるものです。文学も芸術も根拠はそこにあります。「美」の根拠も「善悪」の根拠もそこにあります。
今日もいくつかの連続ドラマを観ました。最近は自分に制限をかけているのですが、いくつかは観てしまいます。そしてよく泣きます。年齢とともにより涙もろくなっているようです。刑事ドラマでも恋愛ドラマでも、どの番組も同じような主題の繰り返しです。それはそうです。恋愛、セックス、犯罪などが最近できたわけではないのです。古来から語られてきた恋愛や善悪に大きな変化はないでしょう。でも、毎回泣いてしまうのです。半年前に、別の異性と別の恋をしている俳優（女優）を見てないてしまいます。そこには俳優の演技力があり、演出力があり、いい脚本があり、大道具や小道具、CGや音楽、様々な要素があります。でも、優秀な脚本に「な是恋愛をするのか」は書いてありません。論理で恋愛をするわけではありません。恋愛は「するべくしてするように予定されている」のです。何気ない仕草に惹かれたり、見つめあう瞬間に恋に落ちたり、シグナルは決まっています。脚本や演出にかかわらず、というか、脚本や演出はそのシグナルを強調するためにあるのですが、その背景には論理を超えて人びとに流れる「何か」があります。逆にそれがなければ、どんなに脚本が良くても、演出が良くても作品は成り立ちません。
さまざまな登場人物、さまざまなシチュエーションで、その「何か」をいかにうまく、効果的に描くか、ということの変奏曲（バリエーション）でしかありません。
三島の天才性
この本を難しいという人がいるようです。わたしは、国粋主義者で自害した（と思われている）三島の小説など読む気もありませんでした。どうも難しそうな気もしていました。でも、読んでみると少しも難しいところはありません。漢字が多めのラノベといったところです（わたしの読んだ本は現代漢字仮名文で、ほとんどの漢字にふりがなが付いていました）。400ページ以上ありますが、一気に読んでしまいました。
三島は美的であることを目指し、そのために技工と知識のすべてを注いでいます。でも、「美」を目指すことそのものが「思春期の症状」です。そして、その美的狂酔から覚めようとはしなかったんじゃないでしょうか。溝口は「生きようと」思いました。でも、それは生気に溢れた「思春期のような」生への決意ではありません。
「別のポケットの煙草が手に触れた。私は煙草を喫んだ。一ト仕事を終えて一服している人がよくそう思うように、生きようと私は思った。」（P.463）
たぶん、溝口の言葉は嘘ではないでしょう。でもその生は思春期の生でも子供の頃の生でもありません。かと言って大人の生でもないのです。いわば「諦めた」「中途半端な」生です。老師のような、ある意味で老師より諦念した生です。その道を溝口は生きていけるのでしょうか。生きようと思ったのです。溝口も三島も。
そこに至る青年の心情は、見事に描かれています。その心情の「本当の理由」は書かれていません。書いたつもりなのかもしれません。でも、書かれていないのです。恋愛小説で、「恋をした原因」を「エンドロフィン」として書かないのと同じです。書かないからこそ、読者は共感できるのです。そこに読まれる小説があります。
三島は決して大衆に媚びているわけではありません。表現しようとせずに表現してしまうのが天才の天才たるゆえんです。それがある面では媚びているように見えるときもありますが。私は、この本の前半に比べて後半が「美しくない」と思いました。それは、三島の筆が乗り、書きたい思いが肥大化したからではないかと思いました。
観念の世界（空想の世界）から現実の世界へのソフトランディングは、村上春樹と比較できるかもしれません。村上春樹はその違和感の収拾が困難なときにストーリーを犠牲にしても、その収拾を優先しているように思えます。その結果ストーリーが収拾しないことになるのですが、それが村上春樹特有の読後の余韻になります。読者の想像を呼び起こすようで、その惹起を阻止する消化不良のようなエンディングです。
私は村上春樹が大好きです。たぶんその小説の殆どを読んでいる唯一の作家です。
それに比べて三島に見えるのはその誠実さです。天才さと凡庸さ、そして自分の生に対しても誠実だったのではないでしょうか。
生きるということ
溝口は現実（生）との和解したのでしょうか。三島もこの小説を書きながら、和解しようと思ったのだと思います。そして、、溝口とともに和解した気になりました。だから、溝口に「生きよう」と言わせたのです。それは三島の気持ちでもあったと思います。でも、三島は誠実を貫きます。その声は無気力で力がありません。和解できていなかったのです。和解できたと思いたかっただけでした。その後の運命はそれを表しています。
多くの天才が考えて、和解できませんでした。それは数学上の、哲学上の難問と同じです。答えはありそうに思える。あるかもしれない。きっとあるだろう、という思惟（思い込み）。それは、名前があるから現実に存在すると思うのと同じです。現実に存在する物に名前をつけるのであって、名前が存在を作るのではありません（唯名論。実は名前が物を作ります。「山」という名前が「そら」と「大地」と一体となって混沌としていた自然から「山」を分離独立します。でもそれは、「認識する」ことであって「山を作る」わけではありません）。わたしが答えはありえないと考えていることはすでに述べました。自我を自我で乗り越えることは不可能だからです。自我が存在する限り、客体は存在します。常に自我と客体、思惟と現実は「別のもの」として存在し続けます。
「山」を意識したときには、もう「山」はなくなりません。人間は「山」を削り、個別の「山」を壊すことができるし、行ってきました。でも「山そのもの」をなくすことはできません。「自我」も同じです。個別の「自我」はなくす（殺す）ことができます。でも、「自我」そのものを壊すことはできません。
そこで、できることは折り合いをつけることです。場面に応じて認識と行為とのどちらかに優位をつけることです。それは、老師のやっていたことだし、それを嫌悪する溝口もやっていたことです。
折り合いをつけることができずに、自我と客体の一致を目指すためには、宗教の世界に入らなければなりません。もしくは神や仏以外に自我（と客体）の「上位（者、物）」を設定することです。調停者としての超越者を設けること。それが三島にとっては「天皇」だったのではないでしょうか。ですから、それは国粋主義でも、軍国主義でも、ファシズムでもありません。でも、それは問題を棚上げしたにすぎないのではないでしょうか。問題を保留するということです。だから、天皇のもとにいる一人ひとりの人間は「三島も含めて」葛藤を抱えたままなのです。日々の生活の中で、その葛藤はたいてい現実・肉体が勝利します。だからこそ思春期が続く世界でも人類は存続しています。
私たちは、本書執筆後の三島の運命を知っています。溝口が金閣寺に放火することも、その後の運命も知った上で本書を読むようにです。だから、本書が出版された時の読者とは当然読み方が違います。それでも『金閣寺』が読み続けられているのは、冒頭に書いたように誰もが経験する「思春期（青年期、あるいは反抗期）」の葛藤が見事に、美しい文章で描かれてるからです。それを懐かしく読む人もいれば、「何歳になっても、わたしは変わってい（変わらない）ないなあ」と思いながら読む人もいるでしょう。読み続けられるもの、それが「名作」です。「人類の思春期」が続く限り、読まれ続けると思います。
余談ですが、去年が三島の没後50年でした。それで、『金閣寺』を含めて三島作品が再度注目されたようです。「青空文庫」という著作権が切れた作品をボランティアでネット化しているサイトがあります。「青空文庫」は著作権切れを見越して三島作品のネット化を勧めていたようですが、日本がTPPに加盟したことで著作権の保護が作者の死亡後50年から70年になりました。皆さんご存知のように、これはディズニーの著作権を維持するために、アメリカが期限ギリギリに法律化したものです。あと20年。三島の著作権が切れるとき、わたしは生きていません。
＜書き抜き＞
「私には自分の未知のところに、すでに美というものが存在しているという考えに、不満と焦燥を覚えずにはいられなかった。」（P.36）
「私が目に見える美をしか信じなかった以上、この態度は当然である。」（P.43）
「私という存在から吃りを差引いて、なお私でありうるという発見を、鶴川のやさしさが私に教えた。」（P.46）＿＿じゃあ、その「私」って何？
「美ということだけを思いつめると、人間はこの世で最も闇黒な思想にしらずしらずぶつかるのである。」（P.83）
（敗戦は）「それは解放ではなかった。断じて解放ではなかった。不変のもの、永遠なもの、日常のなかに融け込んでいる仏教的な時間の復活に他ならなかった。」（P.118）＿＿微妙です。宗教とはなにか（仏教とは何か）という問題。
「俺はかくて、世間の「愛」に関する迷蒙を一言の下に定義(FF)することができる。それは仮象が実相に結びつこうとする迷蒙だと。」（P.180-181）
「それもソの筈、菊の端正な形態は、ミツバチの欲望をなぞって作られたものであり、その美しさ自体が、予感に向かって花開いたものなのだから、今こそは、生の中で形態の意味がかがやく瞬間なのだ。形こそは、形のない流動する生の鋳型であり、同時に、形のない生の飛翔は、この世のあらゆる形態の鋳型なのだ。」（P.279）
「しかしそれも、第三層の究竟頂の俄にすぼまった形が戴かれていることで、一度確かめられた現実は崩壊して、あの暗いきらびやかな時代の、（FF)高邁な哲学に統括され、それに服するにいたるのである。」（P.447-448）
「建築家はなおそれだけでは満ち足りなかった。彼は法水院の西に釣殿に似たささやかな嗽清を張り出した。彼は均衡を破ることに、美的な力のすべてを賭けたかのようであった。」（P.448）＿＿美と現実。美の形而上性。美と現実（自然）のどちらを上に観るか。
「細部でもあり全体でもあり、金閣でもあり金閣を包む夜でもあった。」（P.449）＿＿全体と部分。論理的には解決できない謎。
（P.450）＿＿限りなく増大（あるいは後退、衰退）するもの、数値化。数値化できないものは、拡散する。虚無の開示。美（あるいは概念）の開示・提示・明示・現実化・実証化＝芸術。提示できないものを提示すること。文字以前に芸術も文学もなかった。
文字にできる概念。概念化は文字（あるいは言葉）にしかできない。
美（という概念）は現実にあらねばならず、現実にはない。（あってはならない。）だからこそ神秘である（神秘性を帯びる）。
「してみると私の永い周到な準備は、ひとえに、行為をしなくてもよいという最後の認識のためではなかったか。（LF）見るがいい。今や行為は私にとっては一種の剰余物にすぎぬ。」（P.453）＿＿認識と行為、認識と現実
理想の女性（男性）は可能か。
（P.438）思惟から現象（現実）への描写。村上春樹との違い。
思惟は現実を超える。超えるものである。それを制御する仕組みがない社会はなくなって当然。天皇の存在、役割。
「生きようと私は思った。」（P.463）＿＿最後の文章。現実（生）との和解？三島もこの小説を書きながら、和解しようと思ったのだと思う。そして、和解した気になった。でも、和解できなかった。その後の運命はそれを表している。多くの天才が考えて、和解できなかったのだ。それは数学上、哲学上の難問と同じである。答えはありそうに思える。あるかもしれない。きっとあるだろう、という思惟。それは、名前があるから現実に存在すると思うのと同じである。物に名前をつけるのであって、名前が存在を作るのではない（唯名論。実は名前が物を作る。「山」という名前が「そら」と「大地」と一体となって混沌としていた自然から「山」を分離独立する。でもそれは、「認識する」ことであって「山を作る」わけではない。）。だから、わたしは答えはありえないと思う。自我を自我で乗り越えることは不可能だからだ。どこまでいっても自我は存在する。自我が存在する限り、客体は存在するのだ。常に自我と客体、思惟と現実は「別のもの」として存在し続けるのだ。自我と客体の一致を目指すことは、宗教の世界に入らなければならない。もしくは自我（と客体）に上位を設定することだ。それが三島にとっては「天皇」であった。
＜メモ＞
逃げるー逃げろ
逃げる肉体こそが自分
自然と自我
三段階 弁証法
子供と大人、社会人になるということ。就職するということ。
思春期
三階構造と嗽清
官能 美と現実 肉（体）と精神
青年 人生
現世
文化主義 文化国家
存在条件
世間に媚びる三島
生きることができるのかー中途半端な生でしかないー老師の生き方
内界と外界
三島も救われなかった
表現しようとせず、表現するのが天才ー媚に見える
天才さと凡庸さ。誠実であったことは間違いない。
生きようと思った、生かされている、生き残った
戦前、戦後、根本は変わっていないー植民地との違い
個性と感情。化粧＝お面。個性のないところに感情を読み取ることができるのはなぜか。自我と感情は別？たぶん。日本（能面）だけじゃない。欧米の仮面舞踏会。「顔」を隠すことで、感情が読み取れる？マスク。新型コロナウィルス。
⟨impressions⟩
Youth "heart"
This work makes the heart of a young man "beautiful" and "character". I think many people struggled with the separation of "I" and "other than me" (parents, school, nature and even their own bodies) during adolescence. It is the dissociation between the bloated "self" and the "relatively smaller" "surroundings". Even your own body is not free and you are left with yourself.
For that reason, thinking and reality are separated. Mishima beautifully depicts it in beautiful sentences. However, what Mishima is asking is that "beauty". "Does beauty really exist? Can it be or can it be?"
Fantasy (fantasy, dream, imagination, thought, idea, thought, thought ... or memory. I think Mishima uses it properly) and Kinkakuji in reality (existence, existence) It always depicts the divergence, the divergence between beauty and reality. Mishima continued to see the possibility of "bridging" between thought and reality in Mishima's text, that is, "characters." That is why Mishima's writing is "beautiful."
It's the same as a genius painter and photographer creating the "beauty" of a work. Some people say that it has "beauty" that goes beyond the subject. For example, is a "landscape painting" more beautiful (possibly) than a real landscape?
Is the "girl" with make-up more cute (beautiful) than the real (no makeup?) Girl? (Lol)
I think it's cute. Of course, there are good and bad makeup. However, if you make up according to the "manual", you can become a cute girl ( timely ).
The current "mass production girls" is a typical example. And when you take a picture, "an app that makes your eyes bigger". Originally, I'm not good at distinguishing people (it seems that what I see is different from others), so when I look at such pictures, they all look the same. Is it because it is already an "old man"? Can young boys today find a difference there?
Then, does "beautiful woman (pretty girl)" "exist"? I hope there is a timeless "beauty". "Beauty as a concept".
Some people may say that there is "Mona Lisa". I like "Mona Lisa" (although I haven't seen it in person), but what about you guys? Is "Mona Lisa" "beautiful"?
People who can say "Beauty changes with the times" do not need to read "Kinkakuji". "At the time of construction," Kinkakuji was beautiful, but now you might think it's different. What Mishima wanted to write was "beauty that transcends time and space." In German philosophical style, it is "beauty as a concept (essence) and its phenomenon form".
Structure of Kinkakuji Temple
Kinkakuji is the "Hosuiin" on the 1st floor, the "Shione-do" on the 2nd floor is the Shinden-zukuri style, and the 3rd floor is the Zendo Buddhist-style "Study summit".
It seems that humans like the "number" of "3". "2" is in nature. There will be many languages that only have "1, 2". "3" is a special number. It is the number of ego's leap (takeoff) from nature.
From Aristotle's logic (syllogism) to Hegel's dialectic of "positive, anti-go", the basis of logic is "3".
Still, one-story and two-story are normal, but three-story and above are special. "3" and above does not matter whether it is "10" or "100". Rather, "1 to 2" and "2 to 3" are "qualitative changes." "3" and above are only quantitative changes.
To give a familiar example, one person finds a spouse and becomes a married couple. Only when you have a child will you become a "parent". After that, no matter how many children you have, your "parents" will not change (laughs). If you have grandchildren, you will become "grandparents", but that means that your child has become a full-fledged child, which is not as much a change as having a child.
I think the first floor of Horyuji Temple is "childhood", the second floor is "youth (adolescence)", and the third floor is "adult". That's why the main character, Mizonokuchi, aims for the 3rd floor. One of the ways is to become a Buddha and to gain enlightenment (Is it "opening up"?). Entering the religious path and "faithing". But Mizonokuchi couldn't settle for it. It is manifested in his expectations and despair (disgust) for the old master. The old master also embodies another road leading up to the 3rd floor-which is also the way out from the 2nd floor.
Mizonokuchi finds the way in "Gargling". Few people can reach the 3rd floor alive (without becoming a Buddha). That is why Kinkakuji has a gargling dynasty "to break that equilibrium." Most people go through a road that shouldn't exist in front of the building, a road that most people "forget" (pretend to be invisible) for its apparent existence. "Adults don't tell me." I have forgotten (pretended). And tell the child the "ideal (idea)".
Recognition or action
Two friends, Tsurukawa and Kashiwagi, are "ideal" and "reality," respectively. And I know that the ideal is a "profane person". It is Tsurukawa who chooses to die for "love", "desire, profane".
And Kashiwagi said, "I wanted to let you know. What changes this world is recognition." (P.380), while Mizonokuchi says, "It transforms the world. Is an act. That's all. ”(P.381). It's like a Marxist. Did Mishima have that in mind? He was as knowledgeable as he was, so he must have been conscious. Now (this world) is not "the end of everything". It is "the prehistory of mankind" and "the end of childhood".
There is a theory that Marx is locked in the 19th century, but it is too narrow. I think it must be properly positioned in the history of Western philosophy and regarded as one of the polar regions. I think I found a young Hegel and took over.
Changing the world with cognition is a dark side where philosophy tends to fall. It is the denial of cognition itself, the path from reason to madness, the path to religion. That may make him easier. You can also assume that it has become easier. But the reality doesn't change (although the reality is always changing). Mizonokuchi couldn't do that. He couldn't forgive him. He "was thinking all the time." "I think my long and careful preparation was just for the final recognition that I didn't have to do ___ action. (LF) Look. Now action is for me. It's just a kind of surplus. ”(P.453).
Body, sex
And Mizonokuchi ignites the "three-story structure", thinking of eliminating Kinkakuji itself. It tried to eliminate "self (self / ego)" as "object (objective / object / reality)" at Kinkakuji Temple. If you think only about "recognition", just like Tsurukawa, you die (suicide) and you lose the Kinkakuji Temple (I also bought sleeping pills and knives). But Mizonokuchi didn't think so. So he had no choice but to "act." Not as reason (spirit, ego) but as flesh (body).
The body appears many times in this novel. At first, it comes out as a way to isolate and independence of one's body and consciousness that "barks", but soon it becomes "sex" with the reality of "a good child". The enlargement of the ego overlaps with that of puberty. Therefore, it is "raw = sex = sensual". Living itself is "eros" and "sensuality", so I would like to deny it, but it is impossible. It is unacceptable because it puts the profane thing (raw) in the same line as Kinkakuji as "sex (female)" and also makes the Kinkaku profane. Therefore, desire is blocked by Kinkakuji with women.
Your body itself becomes a secondary thing. "I was hungry" is written several times, but there is no feeling of sadness towards women or Kinkakuji.
Women are "reality." In the sense that it is "sexual" and "out of reach", it is more "holy" than Kinkakuji. That is why she can only approach Kinkakuji by giving up. In that sense, it can be said that Mizonokuchi values "recognition" rather than "action."
What did Mishima think about masturbation? It is a sexual relationship with one's own body that is left over. It is an obvious "act". It seems to be written in other books.
Do not open, do not enter
The body attacks Mizoguchi's spirit many times. It was Kinkakuji that helped or stopped each time. Now, when the Kinkakuji is set on fire, the Kinkakuji will no longer come to help or stop (here, fairy tales may come to help. Some readers expect that. Maybe, but it actually burned and I think it had to burn). Mizonokuchi escapes from the 1st floor to the 2nd floor. That is exactly the road that Mizoguchi himself took. Then, Mizonokuchi escapes to the 3rd floor. The act of "escape" has already suggested Mishima's (Mishima's own) defeat.
The "escape" will be documented later by Akira Asada (or by Doulouse). "Escape" is decorated with "Escape". And in recent years, it has become "escape shame".
And the door of "Study Top" on the 3rd floor, "Door of Overcoming the Ego" will not open. At that time, what attacked Mizoguchi was probably his own "meat = raw" counterattack / return in the form of "rejection of Kinkakuji". I think he regained his "life" by being rejected by Kinkakuji. And the "recovery of sexuality" that has disappeared in the Yukaku, neither dream nor reality, will be pursued.
It does not say that he passed "gargle" when he escaped. That may not be a problem. Because Kinkakuji itself (main body) was destroyed, there is no longer a symbolic meaning of its accompanying "gargle". Besides, he became aware of "flesh (body)".
How evil is possible
What would happen to Mizonokuchi if he entered the summit and survived?
Have you become like a Buddha, a saint, or a hermit? He may have become. But at that time, he might be "invisible" from the public eye.
Or, after escaping the fire at the "Study Summit", he may have returned to the "ground (this world)" through the "gargle". At that time, he would have become a "hero (passionate)" and an old master (Zen, religion, harmonious human being, real ideal, compromised human being). To a human being who has failed dialectical promotion. Isn't that the very thing (essence) of "doing evil"? Good is possible only when the concept of evil is "enabled".
What survived / survived
Adolescence is a life-and-death battle. Youth is bluer than pink, as the Japanese indicates (some people may have been pink, in any case, "what you think of later"). Only those who survive it and those who survive can become adults.
It begins with being aware of your ego, away from the sense of unity with the world (sense of unity with your mother). Then, after an adult rite of passage, you become an "adult". How long has it been since adult initiation was stopped in Japan (it is clear that the coming-of-age ceremony has nothing to do with it)? Isn't it about half a century to 100 years? In rural areas, youth organizations (such as the "Youth Group") have survived until recent years.
Youth group is an autonomous organization based on knowledge and experience. "Crawling at night" is not only "flirtation" but also the sexual activity of young people, and the youth group was involved.
Few people know it anymore. The number of people who know the war (Pacific War) is decreasing. Those who have experienced it remember it. The memory is reproduced. It remains (sustains) by being reproduced. As it is reproduced within itself, it is also reproduced among others. In any case, the memory disappears with "death" (I think). Since it is a reproduction (remake), it can be "always changing". You may have experienced that "history" changes as the number of people who have experienced war decreases.
I think many people think that their memory will not change. However, it is constantly being reproduced while being re-evaluated by the environment (including experience) at that time. There will be nothing that will not be reproduced. It survives for generations because it disappears.
"Immortal things can be destroyed" means that things that are constantly changing cannot be destroyed. For example, you can kill an "old master". But someone will be an old master instead. Although it may be "Mizoguchi". However, Kinkakuji, which is considered immortal, can be "destroyed".
There is a "record". "History" begins when it remains as "characters". In the past, it remains as documents and books, and now as "digital data".
Many books have been lost. How much "digital data" will remain? In fact, like (?) Memories, only the reproduced ones remain. In the old days, penmanship, then printing, and copying digital data. Nothing remains that was not reproduced. That's notable for digital data. Floppy disks can no longer be read. Many early CDs, whether music discs or data discs, are disappearing. Since the hard disk has a predetermined number of storage and playback times (made and used on the assumption of failure), it is always replaced with a new one (and one with a large capacity). Data that was not "migrated (copied)" at that time will be lost. Technology to restore lost data (not just recovery, but technology to supplement lost parts with algorithms. Deepfake technology is also that. But it is just created data, and the original data "itself" It is not ". It is made" arbitrarily "by the algorithm), but the technique is used in a way that is convenient for those in power at the time, just like writing and copying.
History is just a concrete abstraction, and letters are just a concrete abstraction. Books that don't sell will never be masterpieces. (Nothing remains-especially in a digital society)
Whole and part. General and special.
The whole is not a set of parts. The part is also one whole, and the whole is also a part of the other whole. It means that a group of individuals is not a society. Mizoguchi's anxieties, worries, happiness and unhappiness, on the one hand, also arise from the gap between Mizoguchi's perception of the self (self) and the object (human relations, society).
If you focus on the part (special), you will be "selfish". "Self-sacrifice" is the flip side of the same thing. If you focus on the whole, it becomes totalitarian, but in many cases, "self" is not included in the "whole". It's the same as thinking about "thinking about others," "thinking about class," "thinking about society," and so on. Kant's idea of "treating others as a purpose, not as a means" is also an ego-centered idea, and in the end it is only one means.
The whole and the part are unsolvable as long as you admit "self". As far as I know, its buds and establishment are in ancient Greek philosophy. Plato lamented that Socrates (an individual) was sentenced to death by Police (a society) and died obediently according to it, but there is a recognition of original sin (300 years when Jesus Christ was born). That was before). Plato responded to society with an "ego." Since then, Western society fused with Hebraism is "history corresponding to society with ego (with logic)". There is no absolute reconciliation there. Various thoughts, philosophies, politics, religions, sciences, etc. emerged depending on how to make a "reconciliation". Sometimes they seemed to stick together, separate, and develop, and sometimes they seemed to decline. However, as long as they are not absolute reconciliations and can only be compromises, we will come across places that cannot be traced further, such as "axioms" in mathematics. The same is true of "I am because I think". Although it is the ultimate thought, it is also a "give up" and "give up". Mizoguchi's "relationship between cognition and action" cannot be explained logically. It's beyond logic.
In syllogism, it is possible to continue with B for A, C for B, and so on, but the first choice of A is before logic. ("The Dignity of the Nation" Masahiko Fujiwara)
Before, during, and after the war
NHK's "100 Minutes de Meicho" featured "Kinkakuji" (that was the reason I decided to read this book). I watched the first night and the rest after reading this book.
The lecturer is Keiichiro Hirano. He said that Mishima, who survived the war, tried to blend in with the postwar society, but was critical of the unscrupulous nature of the postwar society. I think he also said that it was a 180-degree value shift after the war (I remember it).
Certainly, Mishima went through the war during his adolescence. Same as Mizonokuchi. It seems that Mishima was also stuttering when he was young. This is also the same as Mizonokuchi. Mizonokuchi is Mishima himself rather than the Kinkakuji arsonist.
By the way, was the defeat a "180 degree value shift of thought"? To put it the other way around, was Mishima's idea of the emperor system a retrospective? I don't think so. The former is a fact and the latter is a hope.
The former has the clear fact that most of the people accepted it (lived). There is a theory that "culture propagates only where there is a basis for accepting it" (although it is suspicious). If so, it was because of that foundation that the Japanese accepted the postwar value. The defeat is not a break, but a series. Most of the things, such as the Constitution of the Empire of Japan and the parliament under it, the "universal suffrage" election system, the chaebol, the private ownership system such as land ownership, the media such as newspapers and radio, etc., existed before the war.
They are all the result of character culture. Of course, "science" is also. "Obvious things" such as "objective view by ego" and "nature, others, and society as objects" are "characters", "objectification of self", "visualization and standing of voice" It is the result of "transcendence of time and place" (each contains the opposite relationship; the predicate makes the subject exist). The social changes brought about by literacy are incomparable to the value shift of defeat. The social change brought about by colonization is devastating. The American Indians and the Ainu people are typical examples, but the tragedy is still unfolding every day in South America and Southeast Asia.
Long puberty
It is difficult for those who have once left the earth and those who have lost their unity by looking at nature objectively to return to their original state. That's the biggest factor that makes us think we can't go back to our children.
But we want to get back there. Not because we are part of nature, but because we are nature.
Mizoguchi (and maybe Mishima) is attacked, and the "flesh" that tries to counter it with Kinkakuji always tries to invade the spirit. While resisting it, they are always living in "puberty." As literacy becomes more widespread (99% literacy is not noticeable, but it's a decisive lie), more and more people will continue to live in "puberty" until they die. In the big picture, the West since ancient Greece (which has spread globally) has always been "adolescent history (= letters)".
Recently, I had the opportunity to read Grimm's fairy tales. Fairy tales (old tales, fairy tales) are oral culture. There are "things that catch people's hearts" that cannot be explained by character culture (logic). It has been handed down because of that. It has something in common with Kunio Yanagita's "common sense". That "something" is at the source of creating "character culture." Without it, the "culture" itself would disappear. There is a basis for both literature and art. There is a basis for "beauty" and a basis for "good and evil".
I watched some serial dramas today as well. I've been limiting myself lately, but I've seen some. And I often cry. It seems that tears become more brittle with age. Every show, whether it's a police drama or a romance drama, repeats the same subject. of course. Love, sex, crime, etc. haven't happened recently. There will be no major changes in love and good and evil that have been talked about since ancient times. But I cry every time. Half a year ago, I didn't see an actor (actress) who was in another love with another opposite sex. There is the acting ability of the actor, the performance output, the good script, the props and props, the CG and the music, and various elements. However, the excellent script does not say "Do you have a love affair?" You don't fall in love with logic. Love is "planned to be done". The signal is fixed, such as being attracted to casual gestures or falling in love at the moment of staring at each other. Regardless of the script or direction, the script or direction is there to emphasize the signal, but in the background there is "something" that goes beyond logic and flows to people. On the contrary, without it, no matter how good the script is or how good the production is, the work will not be possible.
It's just a variation on how to draw that "something" well and effectively in various characters and in various situations.
Mishima's genius
It seems that some people find this book difficult. I didn't even want to read Mishima's novel, which was (believed to be) a nationalist and committed suicide. I felt like it would be difficult. But when I read it, there is nothing difficult. It's like a light novel with a lot of kanji (the book I read was a modern kanji kana sentence, and most of the kanji had furigana). There are more than 400 pages, but I read them all at once.
Mishima aims to be aesthetic and devotes all his craftsmanship and knowledge to that end. However, aiming for "beauty" itself is a "symptomatology of adolescence." And I think he didn't try to wake up from that aesthetic frenzy. Mizonokuchi thought "to live". But it's not a determination for a lively, "adolescent-like" life.
"A cigarette in another pocket touched me. I smoked. I thought I'd live, as people who take a break after work often think so. . ”(P.463)
Maybe Mizoguchi's words are not a lie. But that life is neither adolescent nor childhood. However, it is not an adult's life. So to speak, he is a "give up" and "halfway" student. In a sense, he is a student who gave up more than an old master, like an old master. Can Mizonokuchi live on that road? He wanted to live. Both Mizoguchi and Mishima.
The feelings of the young man leading up to that point are beautifully depicted. The "real reason" for that feeling is not written. He may have written it. But it's not written. It's the same as not writing "cause of falling in love" as "endrophin" in a romance novel. Readers can sympathize because they don't write. There is a novel to be read there.
Mishima is by no means flirting with the masses. It is because he is a genius who expresses without trying to express. Sometimes it looks like it's flirting in some respects. I thought the second half of this book was "not beautiful" compared to the first half. I thought it was because Mishima's brush got on and my desire to write became bloated.
The soft landing from the world of ideas (the world of fantasy) to the real world may be comparable to Haruki Murakami. Haruki Murakami seems to prioritize the collection even if he sacrifices the story when it is difficult to collect the discomfort. As a result, the story is out of control, but that is the after-reading lingering peculiar to Haruki Murakami. It's an indigestion-like ending that seems to evoke the reader's imagination and prevents it from happening.
I love Haruki Murakami. He is probably the only writer who has read most of the novel.
Compared to that, what Mishima looks like is its sincerity. Perhaps he was genius, mediocre, and sincere to his life.
To live
Did Mizonokuchi reconcile with reality (life)? I think Mishima wanted to reconcile while writing this novel. And, I felt like I was reconciled with Mizoguchi. That's why I made Mizonokuchi say "Let's live". I think that was also Mishima's feelings. However, Mishima is sincere. The voice is lethargic and powerless. He wasn't reconciled. He just wanted to think he was able to reconcile. Subsequent fate represents that.
Many geniuses thought and couldn't reconcile. It's the same mathematical and philosophical challenge. The answer seems likely. Might happen. The thought (belief) that there will surely be. It's the same as thinking that it actually exists because it has a name. You give a name to something that actually exists, not the name that makes it (Nominalism. In fact, the name makes things. The name "mountain" is united with "sora" and "earth." It separates the "mountain" from the chaotic nature, but it is "recognizing", not "creating a mountain"). I have already mentioned that I do not think the answer is possible. This is because it is impossible for the ego to overcome it. As long as the ego exists, the object exists. The ego and the object, the thought and the reality always exist as "different things".
When you are conscious of "mountains", "mountains" will not disappear anymore. Humans can and have gone by shaving "mountains" and breaking individual "mountains". But the "mountain itself" cannot be eliminated. The same is true for "ego". Individual "ego" can be eliminated (killed). However, the "ego" itself cannot be destroyed.
So what you can do is make a compromise. It is to give an advantage to either recognition or action depending on the situation. That's what the old master was doing, and Mizoguchi, who hates it, was also doing it.
You have to enter the world of religion in order to aim for the unity of the ego and the object without being able to come to terms. Or it is to set the "upper (person, thing)" of the ego (and the object) other than God and Buddha. To establish a transcendent as a mediator. I think that was the "emperor" for Mishima. So it's not nationalism, militarism, or fascism. But I think it's just shelving the problem. It means to put the problem on hold. Therefore, each person under the emperor remains in conflict "including Mishima." In everyday life, the conflict is usually won by reality and body. That is why humankind survives in a world where adolescence continues.
We know the fate of Mishima after the writing of this book. It seems that Mizoguchi should read this book knowing that Kinkakuji was set on fire and his fate after that. Therefore, the reading is naturally different from the reader when this book was published. Even so, "Kinkakuji" continues to be read because, as I wrote at the beginning, the conflict of "adolescence (adolescence or rebellion)" that everyone experiences is beautifully depicted in beautiful sentences. .. Some people read it nostalgic, while others think, "No matter how old I am, I haven't changed." What you can continue to read is a "masterpiece". As long as "human adolescence" continues, I think it will continue to be read.
As an aside, last year was 50 years after Mishima's death. Therefore, it seems that Mishima's works, including "Kinkakuji", have attracted attention again. There is a site called "Aozora Bunko" where volunteers are online for works whose copyright has expired. "Aozora Bunko" seems to have recommended the onlineization of Mishima's works in anticipation of copyright expiration, but with Japan joining the TPP, copyright protection has been 50 to 70 years after the author's death. .. As you all know, this is a law that the United States has just reached to maintain Disney's copyright. 20 years left. When Mishima's copyright expires, I'm not alive.
⟨Write out⟩
"I couldn't help feeling dissatisfied and frustrated with the idea that beauty already existed in my unknown place." (P.36)
"This attitude is natural as long as I believed only in visible beauty." (P.43)
"Tsurukawa's kindness taught me the discovery that I could still be me by subtracting stuttering from my existence." (P.46) __ Then, what is that "I"? ??
"If you think only about beauty, human beings will collide with each other without making the darkest thought in the world." (P.83)
(The defeat) "It wasn't liberation. It wasn't liberation by any means. It was nothing but an immutable, eternal, resurrection of Buddhist time that blended into everyday life. (P.118) ＿＿It is delicate. The question of what religion is (what is Buddhism).
"I can thus define (FF) the annoyance about" love "in the world in one word. It's a nuisance that the tentative elephant tries to connect to the reality. (P.180-181)
"It should be so, the neat form of the chrysanthemum is made by tracing the desire of the bee, and the beauty itself has blossomed toward the premonition, so now is the time. Is the moment when the meaning of form is brilliant in life. Shape is the mold of life that flows without shape, and at the same time, the flight of life without shape is the mold of all forms of the world. " (P.279)
"But that, too, because of the narrowed shape of the third layer of research, the reality once confirmed collapsed, and in that dark and glittering era, ( FF) It is supervised by a high-ranking philosophy and is subject to it. ”(P.447-448)
"The architect wasn't satisfied with the fear alone. He overhanged a modest cleansing resembling a fishing hall to the west of the Hosuiin. He had all the aesthetic power to break the balance. It was as if I was betting on it. ”(P.448) ＿＿Beauty and reality. Metaphysics of beauty. Whether to look at beauty or reality (nature) above.
"It was the details, the whole, the Kinkaku, and the night that wrapped the Kinkaku." (P.449) __The whole and the part. A mystery that cannot be solved logically.
(P.450) __ Infinitely increasing (or retreating, declining), quantifying. Those that cannot be quantified are diffused. Disclosure of emptiness. Disclosure / presentation / explicit / realization / demonstration of beauty (or concept) = art. Present what cannot be presented. There was no art or literature before the letter.
A concept that can be written. Conceptualization can only be done with letters (or words).
Beauty (the concept) must be in reality, not in reality. (It must not be.) That is why it is mysterious (it takes on mystery).
"Isn't my long and careful preparation just for the final recognition that I don't have to do _? (LF) Look now. Acts are just a kind of surplus for me. ”(P.453) Recognition and Action, Recognition and Reality
Is the ideal woman (male) possible?
(P.438) Depiction from thought to phenomenon (reality). Difference from Haruki Murakami.
Thoughts go beyond reality. It exceeds. It is natural that there will be no society without a mechanism to control it. The existence and role of the emperor.
"I thought I'd live." (P.463) ＿＿Last sentence. Reconciliation with reality (life)? While writing this novel, Mishima thinks he wanted to reconcile. And he felt reconciled. But I couldn't reconcile. Subsequent fate represents that. Many geniuses thought and couldn't reconcile. It is the same mathematical and philosophical challenge. The answer seems likely. Might happen. The thought that there will surely be. It's the same as thinking that it actually exists because it has a name. Names are given to things, not names to make existence (Nominalism. In fact, names make things. From nature, where the name "mountain" was united with "sora" and "earth" The "mountain" is separated and becomes independent, but it is "recognition", not "making a mountain"). So I don't think there is an answer. This is because it is impossible for the ego to overcome it. The ego exists no matter how far you go. As long as the ego exists, the object exists. The ego and the object, the thought and the reality always exist as "different things". Aiming for the unity of the ego and the object must enter the world of religion. Or set the ego (and the object) at the top. That was the "emperor" for Mishima.
⟨Memo⟩
Run away-Run away
The body that escapes is me
Nature and ego
Three-step dialectic
Becoming a child, an adult, and a member of society. To get a job.
Adolescent
Third floor structure and gargling
Sensory beauty and reality Meat (body) and spirit
Youth life
This world
Culturalism Cultural nation
Existence condition
Mishima flirting with the world
Can I live? -It's only a half-hearted life-The way of life of an old master
Inside and outside world
Mishima wasn't saved either
It looks like a genius to express without trying to express
Genius and mediocrity. There is no doubt that he was sincere.
I wanted to live, I was alive, I survived
The fundamentals have not changed before and after the war-differences from the colonies
Individuality and emotions. Makeup = mask. Why can we read emotions where there is no individuality? Is ego and emotion different? maybe. Not only Japan (Noh masks). Western masquerade. Can you read your emotions by hiding your "face"? mask. New coronavirus.
Youth "heart"
This work makes the heart of a young man "beautiful" and "character". I think many people struggled with the separation of "I" and "other than me" (parents, school, nature and even their own bodies) during adolescence. It is the dissociation between the bloated "self" and the "relatively smaller" "surroundings". Even your own body is not free and you are left with yourself.
For that reason, thinking and reality are separated. Mishima beautifully depicts it in beautiful sentences. However, what Mishima is asking is that "beauty". "Does beauty really exist? Can it be or can it be?"
Fantasy (fantasy, dream, imagination, thought, idea, thought, thought ... or memory. I think Mishima uses it properly) and Kinkakuji in reality (existence, existence) It always depicts the divergence, the divergence between beauty and reality. Mishima continued to see the possibility of "bridging" between thought and reality in Mishima's text, that is, "characters." That is why Mishima's writing is "beautiful."
It's the same as a genius painter and photographer creating the "beauty" of a work. Some people say that it has "beauty" that goes beyond the subject. For example, is a "landscape painting" more beautiful (possibly) than a real landscape?
Is the "girl" with make-up more cute (beautiful) than the real (no makeup?) Girl? (Lol)
I think it's cute. Of course, there are good and bad makeup. However, if you make up according to the "manual", you can become a cute girl ( timely ).
The current "mass production girls" is a typical example. And when you take a picture, "an app that makes your eyes bigger". Originally, I'm not good at distinguishing people (it seems that what I see is different from others), so when I look at such pictures, they all look the same. Is it because it is already an "old man"? Can young boys today find a difference there?
Then, does "beautiful woman (pretty girl)" "exist"? I hope there is a timeless "beauty". "Beauty as a concept".
Some people may say that there is "Mona Lisa". I like "Mona Lisa" (although I haven't seen it in person), but what about you guys? Is "Mona Lisa" "beautiful"?
People who can say "Beauty changes with the times" do not need to read "Kinkakuji". "At the time of construction," Kinkakuji was beautiful, but now you might think it's different. What Mishima wanted to write was "beauty that transcends time and space." In German philosophical style, it is "beauty as a concept (essence) and its phenomenon form".
Structure of Kinkakuji Temple
Kinkakuji is the "Hosuiin" on the 1st floor, the "Shione-do" on the 2nd floor is the Shinden-zukuri style, and the 3rd floor is the Zendo Buddhist-style "Study summit".
It seems that humans like the "number" of "3". "2" is in nature. There will be many languages that only have "1, 2". "3" is a special number. It is the number of ego's leap (takeoff) from nature.
From Aristotle's logic (syllogism) to Hegel's dialectic of "positive, anti-go", the basis of logic is "3".
Still, one-story and two-story are normal, but three-story and above are special. "3" and above does not matter whether it is "10" or "100". Rather, "1 to 2" and "2 to 3" are "qualitative changes." "3" and above are only quantitative changes.
To give a familiar example, one person finds a spouse and becomes a married couple. Only when you have a child will you become a "parent". After that, no matter how many children you have, your "parents" will not change (laughs). If you have grandchildren, you will become "grandparents", but that means that your child has become a full-fledged child, which is not as much a change as having a child.
I think the first floor of Horyuji Temple is "childhood", the second floor is "youth (adolescence)", and the third floor is "adult". That's why the main character, Mizonokuchi, aims for the 3rd floor. One of the ways is to become a Buddha and to gain enlightenment (Is it "opening up"?). Entering the religious path and "faithing". But Mizonokuchi couldn't settle for it. It is manifested in his expectations and despair (disgust) for the old master. The old master also embodies another road leading up to the 3rd floor-which is also the way out from the 2nd floor.
Mizonokuchi finds the way in "Gargling". Few people can reach the 3rd floor alive (without becoming a Buddha). That is why Kinkakuji has a gargling dynasty "to break that equilibrium." Most people go through a road that shouldn't exist in front of the building, a road that most people "forget" (pretend to be invisible) for its apparent existence. "Adults don't tell me." I have forgotten (pretended). And tell the child the "ideal (idea)".
Recognition or action
Two friends, Tsurukawa and Kashiwagi, are "ideal" and "reality," respectively. And I know that the ideal is a "profane person". It is Tsurukawa who chooses to die for "love", "desire, profane".
And Kashiwagi said, "I wanted to let you know. What changes this world is recognition." (P.380), while Mizonokuchi says, "It transforms the world. Is an act. That's all. ”(P.381). It's like a Marxist. Did Mishima have that in mind? He was as knowledgeable as he was, so he must have been conscious. Now (this world) is not "the end of everything". It is "the prehistory of mankind" and "the end of childhood".
There is a theory that Marx is locked in the 19th century, but it is too narrow. I think it must be properly positioned in the history of Western philosophy and regarded as one of the polar regions. I think I found a young Hegel and took over.
Changing the world with cognition is a dark side where philosophy tends to fall. It is the denial of cognition itself, the path from reason to madness, the path to religion. That may make him easier. You can also assume that it has become easier. But the reality doesn't change (although the reality is always changing). Mizonokuchi couldn't do that. He couldn't forgive him. He "was thinking all the time." "I think my long and careful preparation was just for the final recognition that I didn't have to do ___ action. (LF) Look. Now action is for me. It's just a kind of surplus. ”(P.453).
Body, sex
And Mizonokuchi ignites the "three-story structure", thinking of eliminating Kinkakuji itself. It tried to eliminate "self (self / ego)" as "object (objective / object / reality)" at Kinkakuji Temple. If you think only about "recognition", just like Tsurukawa, you die (suicide) and you lose the Kinkakuji Temple (I also bought sleeping pills and knives). But Mizonokuchi didn't think so. So he had no choice but to "act." Not as reason (spirit, ego) but as flesh (body).
The body appears many times in this novel. At first, it comes out as a way to isolate and independence of one's body and consciousness that "barks", but soon it becomes "sex" with the reality of "a good child". The enlargement of the ego overlaps with that of puberty. Therefore, it is "raw = sex = sensual". Living itself is "eros" and "sensuality", so I would like to deny it, but it is impossible. It is unacceptable because it puts the profane thing (raw) in the same line as Kinkakuji as "sex (female)" and also makes the Kinkaku profane. Therefore, desire is blocked by Kinkakuji with women.
Your body itself becomes a secondary thing. "I was hungry" is written several times, but there is no feeling of sadness towards women or Kinkakuji.
Women are "reality." In the sense that it is "sexual" and "out of reach", it is more "holy" than Kinkakuji. That is why she can only approach Kinkakuji by giving up. In that sense, it can be said that Mizonokuchi values "recognition" rather than "action."
What did Mishima think about masturbation? It is a sexual relationship with one's own body that is left over. It is an obvious "act". It seems to be written in other books.
Do not open, do not enter
The body attacks Mizoguchi's spirit many times. It was Kinkakuji that helped or stopped each time. Now, when the Kinkakuji is set on fire, the Kinkakuji will no longer come to help or stop (here, fairy tales may come to help. Some readers expect that. Maybe, but it actually burned and I think it had to burn). Mizonokuchi escapes from the 1st floor to the 2nd floor. That is exactly the road that Mizoguchi himself took. Then, Mizonokuchi escapes to the 3rd floor. The act of "escape" has already suggested Mishima's (Mishima's own) defeat.
The "escape" will be documented later by Akira Asada (or by Doulouse). "Escape" is decorated with "Escape". And in recent years, it has become "escape shame".
And the door of "Study Top" on the 3rd floor, "Door of Overcoming the Ego" will not open. At that time, what attacked Mizoguchi was probably his own "meat = raw" counterattack / return in the form of "rejection of Kinkakuji". I think he regained his "life" by being rejected by Kinkakuji. And the "recovery of sexuality" that has disappeared in the Yukaku, neither dream nor reality, will be pursued.
It does not say that he passed "gargle" when he escaped. That may not be a problem. Because Kinkakuji itself (main body) was destroyed, there is no longer a symbolic meaning of its accompanying "gargle". Besides, he became aware of "flesh (body)".
How evil is possible
What would happen to Mizonokuchi if he entered the summit and survived?
Have you become like a Buddha, a saint, or a hermit? He may have become. But at that time, he might be "invisible" from the public eye.
Or, after escaping the fire at the "Study Summit", he may have returned to the "ground (this world)" through the "gargle". At that time, he would have become a "hero (passionate)" and an old master (Zen, religion, harmonious human being, real ideal, compromised human being). To a human being who has failed dialectical promotion. Isn't that the very thing (essence) of "doing evil"? Good is possible only when the concept of evil is "enabled".
What survived / survived
Adolescence is a life-and-death battle. Youth is bluer than pink, as the Japanese indicates (some people may have been pink, in any case, "what you think of later"). Only those who survive it and those who survive can become adults.
It begins with being aware of your ego, away from the sense of unity with the world (sense of unity with your mother). Then, after an adult rite of passage, you become an "adult". How long has it been since adult initiation was stopped in Japan (it is clear that the coming-of-age ceremony has nothing to do with it)? Isn't it about half a century to 100 years? In rural areas, youth organizations (such as the "Youth Group") have survived until recent years.
Youth group is an autonomous organization based on knowledge and experience. "Crawling at night" is not only "flirtation" but also the sexual activity of young people, and the youth group was involved.
Few people know it anymore. The number of people who know the war (Pacific War) is decreasing. Those who have experienced it remember it. The memory is reproduced. It remains (sustains) by being reproduced. As it is reproduced within itself, it is also reproduced among others. In any case, the memory disappears with "death" (I think). Since it is a reproduction (remake), it can be "always changing". You may have experienced that "history" changes as the number of people who have experienced war decreases.
I think many people think that their memory will not change. However, it is constantly being reproduced while being re-evaluated by the environment (including experience) at that time. There will be nothing that will not be reproduced. It survives for generations because it disappears.
"Immortal things can be destroyed" means that things that are constantly changing cannot be destroyed. For example, you can kill an "old master". But someone will be an old master instead. Although it may be "Mizoguchi". However, Kinkakuji, which is considered immortal, can be "destroyed".
There is a "record". "History" begins when it remains as "characters". In the past, it remains as documents and books, and now as "digital data".
Many books have been lost. How much "digital data" will remain? In fact, like (?) Memories, only the reproduced ones remain. In the old days, penmanship, then printing, and copying digital data. Nothing remains that was not reproduced. That's notable for digital data. Floppy disks can no longer be read. Many early CDs, whether music discs or data discs, are disappearing. Since the hard disk has a predetermined number of storage and playback times (made and used on the assumption of failure), it is always replaced with a new one (and one with a large capacity). Data that was not "migrated (copied)" at that time will be lost. Technology to restore lost data (not just recovery, but technology to supplement lost parts with algorithms. Deepfake technology is also that. But it is just created data, and the original data "itself" It is not ". It is made" arbitrarily "by the algorithm), but the technique is used in a way that is convenient for those in power at the time, just like writing and copying.
History is just a concrete abstraction, and letters are just a concrete abstraction. Books that don't sell will never be masterpieces. (Nothing remains-especially in a digital society)
Whole and part. General and special.
The whole is not a set of parts. The part is also one whole, and the whole is also a part of the other whole. It means that a group of individuals is not a society. Mizoguchi's anxieties, worries, happiness and unhappiness, on the one hand, also arise from the gap between Mizoguchi's perception of the self (self) and the object (human relations, society).
If you focus on the part (special), you will be "selfish". "Self-sacrifice" is the flip side of the same thing. If you focus on the whole, it becomes totalitarian, but in many cases, "self" is not included in the "whole". It's the same as thinking about "thinking about others," "thinking about class," "thinking about society," and so on. Kant's idea of "treating others as a purpose, not as a means" is also an ego-centered idea, and in the end it is only one means.
The whole and the part are unsolvable as long as you admit "self". As far as I know, its buds and establishment are in ancient Greek philosophy. Plato lamented that Socrates (an individual) was sentenced to death by Police (a society) and died obediently according to it, but there is a recognition of original sin (300 years when Jesus Christ was born). That was before). Plato responded to society with an "ego." Since then, Western society fused with Hebraism is "history corresponding to society with ego (with logic)". There is no absolute reconciliation there. Various thoughts, philosophies, politics, religions, sciences, etc. emerged depending on how to make a "reconciliation". Sometimes they seemed to stick together, separate, and develop, and sometimes they seemed to decline. However, as long as they are not absolute reconciliations and can only be compromises, we will come across places that cannot be traced further, such as "axioms" in mathematics. The same is true of "I am because I think". Although it is the ultimate thought, it is also a "give up" and "give up". Mizoguchi's "relationship between cognition and action" cannot be explained logically. It's beyond logic.
In syllogism, it is possible to continue with B for A, C for B, and so on, but the first choice of A is before logic. ("The Dignity of the Nation" Masahiko Fujiwara)
Before, during, and after the war
NHK's "100 Minutes de Meicho" featured "Kinkakuji" (that was the reason I decided to read this book). I watched the first night and the rest after reading this book.
The lecturer is Keiichiro Hirano. He said that Mishima, who survived the war, tried to blend in with the postwar society, but was critical of the unscrupulous nature of the postwar society. I think he also said that it was a 180-degree value shift after the war (I remember it).
Certainly, Mishima went through the war during his adolescence. Same as Mizonokuchi. It seems that Mishima was also stuttering when he was young. This is also the same as Mizonokuchi. Mizonokuchi is Mishima himself rather than the Kinkakuji arsonist.
By the way, was the defeat a "180 degree value shift of thought"? To put it the other way around, was Mishima's idea of the emperor system a retrospective? I don't think so. The former is a fact and the latter is a hope.
The former has the clear fact that most of the people accepted it (lived). There is a theory that "culture propagates only where there is a basis for accepting it" (although it is suspicious). If so, it was because of that foundation that the Japanese accepted the postwar value. The defeat is not a break, but a series. Most of the things, such as the Constitution of the Empire of Japan and the parliament under it, the "universal suffrage" election system, the chaebol, the private ownership system such as land ownership, the media such as newspapers and radio, etc., existed before the war.
They are all the result of character culture. Of course, "science" is also. "Obvious things" such as "objective view by ego" and "nature, others, and society as objects" are "characters", "objectification of self", "visualization and standing of voice" It is the result of "transcendence of time and place" (each contains the opposite relationship; the predicate makes the subject exist). The social changes brought about by literacy are incomparable to the value shift of defeat. The social change brought about by colonization is devastating. The American Indians and the Ainu people are typical examples, but the tragedy is still unfolding every day in South America and Southeast Asia.
Long puberty
It is difficult for those who have once left the earth and those who have lost their unity by looking at nature objectively to return to their original state. That's the biggest factor that makes us think we can't go back to our children.
But we want to get back there. Not because we are part of nature, but because we are nature.
Mizoguchi (and maybe Mishima) is attacked, and the "flesh" that tries to counter it with Kinkakuji always tries to invade the spirit. While resisting it, they are always living in "puberty." As literacy becomes more widespread (99% literacy is not noticeable, but it's a decisive lie), more and more people will continue to live in "puberty" until they die. In the big picture, the West since ancient Greece (which has spread globally) has always been "adolescent history (= letters)".
Recently, I had the opportunity to read Grimm's fairy tales. Fairy tales (old tales, fairy tales) are oral culture. There are "things that catch people's hearts" that cannot be explained by character culture (logic). It has been handed down because of that. It has something in common with Kunio Yanagita's "common sense". That "something" is at the source of creating "character culture." Without it, the "culture" itself would disappear. There is a basis for both literature and art. There is a basis for "beauty" and a basis for "good and evil".
I watched some serial dramas today as well. I've been limiting myself lately, but I've seen some. And I often cry. It seems that tears become more brittle with age. Every show, whether it's a police drama or a romance drama, repeats the same subject. of course. Love, sex, crime, etc. haven't happened recently. There will be no major changes in love and good and evil that have been talked about since ancient times. But I cry every time. Half a year ago, I didn't see an actor (actress) who was in another love with another opposite sex. There is the acting ability of the actor, the performance output, the good script, the props and props, the CG and the music, and various elements. However, the excellent script does not say "Do you have a love affair?" You don't fall in love with logic. Love is "planned to be done". The signal is fixed, such as being attracted to casual gestures or falling in love at the moment of staring at each other. Regardless of the script or direction, the script or direction is there to emphasize the signal, but in the background there is "something" that goes beyond logic and flows to people. On the contrary, without it, no matter how good the script is or how good the production is, the work will not be possible.
It's just a variation on how to draw that "something" well and effectively in various characters and in various situations.
Mishima's genius
It seems that some people find this book difficult. I didn't even want to read Mishima's novel, which was (believed to be) a nationalist and committed suicide. I felt like it would be difficult. But when I read it, there is nothing difficult. It's like a light novel with a lot of kanji (the book I read was a modern kanji kana sentence, and most of the kanji had furigana). There are more than 400 pages, but I read them all at once.
Mishima aims to be aesthetic and devotes all his craftsmanship and knowledge to that end. However, aiming for "beauty" itself is a "symptomatology of adolescence." And I think he didn't try to wake up from that aesthetic frenzy. Mizonokuchi thought "to live". But it's not a determination for a lively, "adolescent-like" life.
"A cigarette in another pocket touched me. I smoked. I thought I'd live, as people who take a break after work often think so. . ”(P.463)
Maybe Mizoguchi's words are not a lie. But that life is neither adolescent nor childhood. However, it is not an adult's life. So to speak, he is a "give up" and "halfway" student. In a sense, he is a student who gave up more than an old master, like an old master. Can Mizonokuchi live on that road? He wanted to live. Both Mizoguchi and Mishima.
The feelings of the young man leading up to that point are beautifully depicted. The "real reason" for that feeling is not written. He may have written it. But it's not written. It's the same as not writing "cause of falling in love" as "endrophin" in a romance novel. Readers can sympathize because they don't write. There is a novel to be read there.
Mishima is by no means flirting with the masses. It is because he is a genius who expresses without trying to express. Sometimes it looks like it's flirting in some respects. I thought the second half of this book was "not beautiful" compared to the first half. I thought it was because Mishima's brush got on and my desire to write became bloated.
The soft landing from the world of ideas (the world of fantasy) to the real world may be comparable to Haruki Murakami. Haruki Murakami seems to prioritize the collection even if he sacrifices the story when it is difficult to collect the discomfort. As a result, the story is out of control, but that is the after-reading lingering peculiar to Haruki Murakami. It's an indigestion-like ending that seems to evoke the reader's imagination and prevents it from happening.
I love Haruki Murakami. He is probably the only writer who has read most of the novel.
Compared to that, what Mishima looks like is its sincerity. Perhaps he was genius, mediocre, and sincere to his life.
To live
Did Mizonokuchi reconcile with reality (life)? I think Mishima wanted to reconcile while writing this novel. And, I felt like I was reconciled with Mizoguchi. That's why I made Mizonokuchi say "Let's live". I think that was also Mishima's feelings. However, Mishima is sincere. The voice is lethargic and powerless. He wasn't reconciled. He just wanted to think he was able to reconcile. Subsequent fate represents that.
Many geniuses thought and couldn't reconcile. It's the same mathematical and philosophical challenge. The answer seems likely. Might happen. The thought (belief) that there will surely be. It's the same as thinking that it actually exists because it has a name. You give a name to something that actually exists, not the name that makes it (Nominalism. In fact, the name makes things. The name "mountain" is united with "sora" and "earth." It separates the "mountain" from the chaotic nature, but it is "recognizing", not "creating a mountain"). I have already mentioned that I do not think the answer is possible. This is because it is impossible for the ego to overcome it. As long as the ego exists, the object exists. The ego and the object, the thought and the reality always exist as "different things".
When you are conscious of "mountains", "mountains" will not disappear anymore. Humans can and have gone by shaving "mountains" and breaking individual "mountains". But the "mountain itself" cannot be eliminated. The same is true for "ego". Individual "ego" can be eliminated (killed). However, the "ego" itself cannot be destroyed.
So what you can do is make a compromise. It is to give an advantage to either recognition or action depending on the situation. That's what the old master was doing, and Mizoguchi, who hates it, was also doing it.
You have to enter the world of religion in order to aim for the unity of the ego and the object without being able to come to terms. Or it is to set the "upper (person, thing)" of the ego (and the object) other than God and Buddha. To establish a transcendent as a mediator. I think that was the "emperor" for Mishima. So it's not nationalism, militarism, or fascism. But I think it's just shelving the problem. It means to put the problem on hold. Therefore, each person under the emperor remains in conflict "including Mishima." In everyday life, the conflict is usually won by reality and body. That is why humankind survives in a world where adolescence continues.
We know the fate of Mishima after the writing of this book. It seems that Mizoguchi should read this book knowing that Kinkakuji was set on fire and his fate after that. Therefore, the reading is naturally different from the reader when this book was published. Even so, "Kinkakuji" continues to be read because, as I wrote at the beginning, the conflict of "adolescence (adolescence or rebellion)" that everyone experiences is beautifully depicted in beautiful sentences. .. Some people read it nostalgic, while others think, "No matter how old I am, I haven't changed." What you can continue to read is a "masterpiece". As long as "human adolescence" continues, I think it will continue to be read.
As an aside, last year was 50 years after Mishima's death. Therefore, it seems that Mishima's works, including "Kinkakuji", have attracted attention again. There is a site called "Aozora Bunko" where volunteers are online for works whose copyright has expired. "Aozora Bunko" seems to have recommended the onlineization of Mishima's works in anticipation of copyright expiration, but with Japan joining the TPP, copyright protection has been 50 to 70 years after the author's death. .. As you all know, this is a law that the United States has just reached to maintain Disney's copyright. 20 years left. When Mishima's copyright expires, I'm not alive.
⟨Write out⟩
"I couldn't help feeling dissatisfied and frustrated with the idea that beauty already existed in my unknown place." (P.36)
"This attitude is natural as long as I believed only in visible beauty." (P.43)
"Tsurukawa's kindness taught me the discovery that I could still be me by subtracting stuttering from my existence." (P.46) __ Then, what is that "I"? ??
"If you think only about beauty, human beings will collide with each other without making the darkest thought in the world." (P.83)
(The defeat) "It wasn't liberation. It wasn't liberation by any means. It was nothing but an immutable, eternal, resurrection of Buddhist time that blended into everyday life. (P.118) ＿＿It is delicate. The question of what religion is (what is Buddhism).
"I can thus define (FF) the annoyance about" love "in the world in one word. It's a nuisance that the tentative elephant tries to connect to the reality. (P.180-181)
"It should be so, the neat form of the chrysanthemum is made by tracing the desire of the bee, and the beauty itself has blossomed toward the premonition, so now is the time. Is the moment when the meaning of form is brilliant in life. Shape is the mold of life that flows without shape, and at the same time, the flight of life without shape is the mold of all forms of the world. " (P.279)
"But that, too, because of the narrowed shape of the third layer of research, the reality once confirmed collapsed, and in that dark and glittering era, ( FF) It is supervised by a high-ranking philosophy and is subject to it. ”(P.447-448)
"The architect wasn't satisfied with the fear alone. He overhanged a modest cleansing resembling a fishing hall to the west of the Hosuiin. He had all the aesthetic power to break the balance. It was as if I was betting on it. ”(P.448) ＿＿Beauty and reality. Metaphysics of beauty. Whether to look at beauty or reality (nature) above.
"It was the details, the whole, the Kinkaku, and the night that wrapped the Kinkaku." (P.449) __The whole and the part. A mystery that cannot be solved logically.
(P.450) __ Infinitely increasing (or retreating, declining), quantifying. Those that cannot be quantified are diffused. Disclosure of emptiness. Disclosure / presentation / explicit / realization / demonstration of beauty (or concept) = art. Present what cannot be presented. There was no art or literature before the letter.
A concept that can be written. Conceptualization can only be done with letters (or words).
Beauty (the concept) must be in reality, not in reality. (It must not be.) That is why it is mysterious (it takes on mystery).
"Isn't my long and careful preparation just for the final recognition that I don't have to do _? (LF) Look now. Acts are just a kind of surplus for me. ”(P.453) Recognition and Action, Recognition and Reality
Is the ideal woman (male) possible?
(P.438) Depiction from thought to phenomenon (reality). Difference from Haruki Murakami.
Thoughts go beyond reality. It exceeds. It is natural that there will be no society without a mechanism to control it. The existence and role of the emperor.
"I thought I'd live." (P.463) ＿＿Last sentence. Reconciliation with reality (life)? While writing this novel, Mishima thinks he wanted to reconcile. And he felt reconciled. But I couldn't reconcile. Subsequent fate represents that. Many geniuses thought and couldn't reconcile. It is the same mathematical and philosophical challenge. The answer seems likely. Might happen. The thought that there will surely be. It's the same as thinking that it actually exists because it has a name. Names are given to things, not names to make existence (Nominalism. In fact, names make things. From nature, where the name "mountain" was united with "sora" and "earth" The "mountain" is separated and becomes independent, but it is "recognition", not "making a mountain"). So I don't think there is an answer. This is because it is impossible for the ego to overcome it. The ego exists no matter how far you go. As long as the ego exists, the object exists. The ego and the object, the thought and the reality always exist as "different things". Aiming for the unity of the ego and the object must enter the world of religion. Or set the ego (and the object) at the top. That was the "emperor" for Mishima.
⟨Memo⟩
Run away-Run away
The body that escapes is me
Nature and ego
Three-step dialectic
Becoming a child, an adult, and a member of society. To get a job.
Adolescent
Third floor structure and gargling
Sensory beauty and reality Meat (body) and spirit
Youth life
This world
Culturalism Cultural nation
Existence condition
Mishima flirting with the world
Can I live? -It's only a half-hearted life-The way of life of an old master
Inside and outside world
Mishima wasn't saved either
It looks like a genius to express without trying to express
Genius and mediocrity. There is no doubt that he was sincere.
I wanted to live, I was alive, I survived
The fundamentals have not changed before and after the war-differences from the colonies
Individuality and emotions. Makeup = mask. Why can we read emotions where there is no individuality? Is ego and emotion different? maybe. Not only Japan (Noh masks). Western masquerade. Can you read your emotions by hiding your "face"? mask. New coronavirus.
