（?雅思精讀）三島由紀夫一位日本作家的奇聞

【?雅思精讀】三島由紀夫：一位日本作家的奇聞，很多同學對于這個問題有疑問和不解，那么下面就跟著中國教育在線的小編詳細了解一下吧。

Yukio Mishima: The strange tale of Japans infamous novelist

三島由紀夫：一位日本作家的奇聞

1. Standing on a balcony, as if on stage, the small, immaculate figure appeals to the army assembled below. The figure is Yukio Mishima, real name Kimitake Hiraoka. He was Japans most famous living novelist when, on 25 November 1970, he went to an army base in Tokyo, kidnapped the commander, had him assemble the garrison, then tried to start a coup. He railed against the US-backed state and constitution, berated the soldiers for their submissiveness and challenged them to return the Emperor to his pre-war position as living god and national leader. The audience, at first politely quiet, or just stunned into silence, soon drowned him out withjeers. Mishima stepped back inside and said: I dont think they heard me. Then he knelt down and killed himself by seppuku, the Samurais ritual suicide.

三島由紀夫身材矮小，溫文爾雅，他站在陽臺上，就像在舞臺上一樣，吸引了集合的衛(wèi)士軍官。三島由紀夫原名平岡松威。1970年代，他是日本最有名的小說家。1970年11月25日，他來到東京的一個軍事基地，綁架了他們的指揮官，召集軍隊，想要發(fā)動軍變。他譴責當時以北國為后盾的政府和制度，斥責士兵的卑躬屈膝，想要恢復天皇戰(zhàn)前作為國家領袖的地位。起初，士兵們都沒有說話，或者說他們被嚇到了，但是很快，此起彼伏的哄笑淹沒了三島由紀夫的聲音，他退回屋里，說：他們都沒聽懂我在說什么。緊接著，跪下來，以武士的方式切腹自殺了。

2. Mishimas death shocked the Japanese public. He was a literary celebrity, a macho and provocative but also rather ridiculous character, perhapsakin to Norman Mailer in the US, or Michel Houellebecq in todays France. But what had seemed to be posturing had suddenly become very real. It was the morning of the opening of the 64th session of the Diet, Japans parliament, and the Emperor himself was present. The prime ministers speech on the government agenda for the coming year was somewhatovershadowed. No one had died by seppuku since the last days of World War Two.

三島由紀夫之死轟動了日本。當時，他是日本文壇明星，他男性氣概十足，敢于挑戰(zhàn)但同時也有點荒謬，就像美國作家諾曼梅勒和當代法國作家米歇爾維勒貝那樣。但那些看起來很是荒誕的一切突然成為了現(xiàn)實。那天早上，日本第64屆國會正在召開，天皇本人也出席了會議。他的自殺使得人們無暇關注日本首相關于明年政府議程的講話。自二戰(zhàn)結束之后，還沒有人以切腹的形式自殺。

3. Some thought he had gone mad, others that this was the last in a series of exhibitionistic acts, one more expression of the desire to shock for which he had become notorious, wrote the Japanese philosopher Hide Ishiguro in a 1975 essay for The New York Review. A few people on the political right saw his death as a patriotic gesture of protest against present-day Japan. Others believed that it was a despairing, gruesomefarce contrived by a talented man who had been an enfant terrible and who could not bear to live on into middle age and mediocrity. For his part, Mishima once told his wife that even if I am not immediately understood, its OK, because Ill be understood by the Japan of 50 or 100 years time.

日本哲學家石黑浩1975年為《紐約時報》撰寫的一篇評論文章中說，有的人覺得他瘋了，有的人則認為這是他一系列行為藝術的結尾，這是他想要引起轟動的舉措，沒想到卻讓他臭名遠揚。少數(shù)右翼人士將他的自殺視為一種愛國行為，視為是對當今日本的一種抗議。有些人則認為這是一場令人絕望的可怕鬧劇，一場由一個無法忍受中年生活的平庸的天才導演的鬧劇。三島由紀夫曾對妻子說：人們現(xiàn)在不明白我，這沒關系，50或者100年以后，他們會明白的。

4. In 1949, Mishima arrived on Japans literary scene with Confessions of a Mask, a kind of autobiography, thinly veiled as a novel, that made him famous in his early twenties. It tells the story of a delicate, sensitive boy who is all but held captive by his grandmother. She is ill and he is made to nurse her. Rather than playing outside with other boys, he is confined with her for years in the sickly-sweet smelling darkness of her bedroom.

1949年，三島由紀夫憑借自傳體小說《假面自白》確定其在日本文壇地位，這本小說讓他在二十多歲時就蜚聲文壇。小說講述了一個脆弱敏感的男孩被自己祖母監(jiān)禁的故事。她病了，男孩被安排去照顧她。多年來，他沒法像其他男孩一樣出去玩耍，而是被關在她那黑黢黢的臥室里。

5. The boys mind develops in that room. Fantasy and reality are never quite separated; fantasy, the stronger twin, grows dominant. By the time the grandmother dies and the boy emerges, he has developed a fixation withroleplaying, with life as theatre. He cannot resist layering fantasies over life around him. Men and boys, especially muscular, straightforward ones, are assigned roles in his vivid, often violent daydreams. Meanwhile he obsesses over his own deviance and appearing normal. He learns how to play his own role: The reluctant masquerade had begun.

男孩的心智是在那個小房間里成長的。幻想和現(xiàn)實像孿生兄弟一樣，從來沒能分開?；孟肷踔磷兊酶訌姶螅紦?jù)了主導地位。祖母去世之后，男孩終于從小房間走出來，但是那時候，他已經愛上了這種角色扮演的游戲，生活對他來說，就像戲劇一樣。他忍不住對周遭的生活加上種種幻想的色彩，男人尤其是那些肌肉發(fā)達，耿直坦率的男人是他白日夢里經常扮演的角色。他癡迷于自己的與眾不同的同時，也讓自己看起來與常人無二。他學會了如何演好自己的角色：假面舞會開始了。

Beauty and destruction

美麗與毀滅

6. Confessions of a Mask continues up to the end of the boys adolescence, detailing the entwined evolution of his internal and external lives and his homosexual awakening. In many ways, it is the key to understanding Mishimas later life and works. It reveals the roots of the aesthetic sensibility, so tied to his sexuality, which proved to be Mishimas steering obsession. The narrator writes that he sensuously accepted the creed of death that was popular during the war, when conscription and self-sacrifice seemed certain and imminent, and indeed Mishima was forever fixated on the idea that beauty is most beautiful when it is transientand above all on the cusp of destruction. This creed mingles with admiration for the male form, a form the frail narrator lacks, to produce fantasies of brave warriors and their bloody demises. This private world of Night and Blood and Death was filled with the most sophisticated of cruelties and the most exquisite of crimes, all recounted with a cool detachment.

小說《假面自白》也講述了男孩的青春期，詳細描述了男孩內心世界和外部世界的交織演變，也講述了他同性戀意識的覺醒。總的來說，這部小說是理解三島由紀夫晚期生活和作品的關鍵。這部小說揭示了三島由紀夫審美的起源，三島由紀夫的審美和性密切相關，他對此有一種很深的癡迷?！都倜孀园住分?，敘述者寫道，他接受了戰(zhàn)爭期間流行的死亡信條。當時，征兵和自我犧牲就在眼前。事實上，三島由紀夫認為，消逝之時即為美，在他看來，毀滅即為美。他的這一美學觀點和他的男性崇拜交織在一起，而男性氣質正式小說敘述者所缺乏的。這種交織，引起了對英勇戰(zhàn)士及其以身殉死的幻想。這個暗夜，血腥和死亡交織的世界里充滿了殘忍和罪惡，而小說所有的敘述卻都帶著一種超然。

7. But then Confessions of a Mask also suggests the slippery interplay between performance and reality that characterised everything Mishima did and wrote. It gave the impression of revealing the author locked in some dark struggle with himselfwhile also suggesting it may just be a masterful manipulation of media and publicity. Mishima had it both ways, scandalising society while retaining a wisp of deniability.

同時，《假面自白》也暗含了現(xiàn)實和表演之間微妙而又難以捉摸的聯(lián)系，而這正是三島由紀夫自己的寫作和生活。小說讓人覺得，三島由紀夫自己在黑暗中苦苦掙扎，同時也讓人覺得這一切都只是媒體和宣傳的操縱。三島由紀夫在抨擊社會的同時，也對其保留一點肯定的態(tài)度。

8. The formula worked. It turned Mishima into the enfant terrible of postwar Japanese literature and won him a broad readership at home. He was, though decadent, a disciplined and prolific writer, churning out reams of popular fiction alongside high literature and dozens of Noh plays. He worked himself into Tokyo high society with the same focus, cultivating adandyish image. His face, with its rugged bones and soft eyes, photographed well. And he was a friend to foreign bureaux and their correspondents, ingratiating himself and doing what he could to extend his celebrity across the Pacificwith some success. If Sonys Akio Morita was the most famous Japanese abroad, wrote John Nathan, a translator and later a biographer of Mishimas, Mishima ran a close second.

這是三島由紀夫的寫作原則，這讓他成為戰(zhàn)后日本文學的天才，在國內吸引了廣泛的關注。雖然三島由紀夫看上去很頹廢，但是他是一位自律而又多產的作家，除了各種文學作品和戲劇，他還寫作了大量流行小說。他自己也是以同樣的面目走進了東京上流社會，把自己打造成了時下流行的形象。一張照片中，他棱角分明的臉和柔和的眼睛都很好表現(xiàn)了出來。他是國外駐日本媒體的寵兒，他竭盡所能在太平洋彼岸擴大自己的影響了，他成功了。三島由紀夫的傳記作家約翰內森寫道，如果說索尼的森田昭夫是海外最知名的日本人，那么三島由紀夫就排第二。

9. Mishimas novels during the 50s mostly mined the same suggestivelyautobiographical vein as Confessions of a Mask. In Forbidden Colours (1951), an ageing writer manipulates a young gay man who has become engaged for convenience and financial security. In Temple of the Golden Pavilion (1956), an acolyte at the temple is transfixed by its beauty in the belief that it will be destroyed by the bombing raidsand when it survives the war, he takes it on himself to destroy it. And in Kyokos House (1959), a boxer takes up right-wing politics, while an actor becomes involved in asado-masochistic sexual relationship that ends in a double suicide.

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