The Conflicted Japan of Yukio Mishima’s Spring Snow
Yukio Mishima was a revolutionary author. His dramatic public suicide is the perfect capstone to a life full of turmoil and unrest. Mishima himself was as conflicted as his many stories and plays, which tend to play out the problem of which direction is Japan heading, and should the nation be developing that way. Mishima romanticized the samurai and nurtured a lifelong affair with traditional Japanese theater. At the same time, he admired the West and studied Western art and literature avidly. The influence is evident, from the decidedly 19th Century British feel of his novel, Spring Snow, to the many references therein to Western art, literature, film, and philosophy. Mishima was not the only Japanese citizen to feel their country was in danger of becoming too Westernized, and his novels reflect the conflicted state of Japan’s national consciousness during the Meiji era.
Before the Meiji Restoration the idea of blending Japanese and Western culture was prevalent in the land of the rising sun. It was generally thought that Japanese ideology was superior to its Western counterpart, but that Western technology would be essential to Japan’s success as a modern nation. While the pros and cons of the differing ideologies are almost impossible to get to the bottom of, Japan could not succeed in an industrial global society without adopting Western technology. But along with steam engines and steel mills came Western food, fashion, and customs, threatening long-established Japanese tradition. The Shishi samurai ushered in the Meiji Restoration, and they preached the motto, "Japanese thought, Western technology." Mishima identified with this philosophy, and does his best to suppo...
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... similarities. It is Dickens’ great work of cultural upheavel, A Tale of Two Cities, that really pertains to Spring Snow. As with the French revolution, the Meiji Restoration forced a complete restructuring of the class system. Dickens focuses on the chaos caused by such a change. Mishima focuses on similar issues.
It is fitting, too, that Mishima provides us with very few answers. At the time of the novel’s publication, 1972, Japan was on the rebound from American occupation and defeat in WWII. The nation was becoming a true player in the global economy, and facing yet another wave of change. And it is important to remember that Spring Snow is the first of a four-novel cycle, a tetralogy. Mishima has chosen to begin with Japan’s restructuring, the most significant social, political, and economic change in hundreds of years. I am eager to see where he leaves off.
Much of what is considered modern Japan has been fundamentally shaped by its involvement in various wars throughout history. In particular, the events of World War II led to radical changes in Japanese society, both politically and socially. While much focus has been placed on the broad, overarching impacts of war on Japan, it is through careful inspection of literature and art that we can understand war’s impact on the lives of everyday people. The Go Masters, the first collaborative film between China and Japan post-WWII, and “Turtleback Tombs,” a short story by Okinawan author Oshiro Tatsuhiro, both give insight to how war can fundamentally change how a place is perceived, on both an abstract and concrete level.
Fallows, James. "After Centuries of Japanese Isoation, a Fateful Meeting of East and West." {Smithsonian} July 1994: 20-33.
experience, because ‘she had the face of America’s enemy and would always have such a face’[5]. However, the Japanese are not merely victims and out of a sense of superiority, they choose to maintain. their detachment from American society. Hatsue’s influential mentor Mrs Shigemura has contempt for American culture and warns Hatsue to stay away from the ‘hakujin’[6].... ... middle of paper ...
Machiavelli, Niccolò. The Discourses from The Portable Machiavelli. Ed. & Trans. Peter Bondanella & Mark Musa. New York: Penguin, 1979.
Ridolfi, Roberto. The Life of Niccolò Machiavelli. Trans. Cecil Grayson. 1954. Chicago: University of Chicago Press, 1963. Print.
In the short story “The Chrysanthemums” John Steinbeck uses symbolism to reflect the characteristics of his main character Elisa Allen. Elisa, a married woman uncovers her deeply smothered femininity in an inconspicuous sense. Her life in the valley had become limited to housewife duties and the only sustenance that seemed to exist could merely be found in her chrysanthemum garden. Not until she becomes encountered with a remote tinker-man out and about seeking for work, does she begin to reach many of the internal emotions that had long inhibited her femininity. The tinker subtlety engages an interest in Elisa’s chrysanthemum garden that encourages Elisa to react radically. When Elisa realizes that there are other ways to live she attempts to lift the lid off of the Salinas Valley, but unfortunately the tinker’s insincere actions resort Elisa back to her old self and leaves Elisa without any optimism for her hollow breakthrough. Steinbeck’s somber details of the setting, strong description of the chrysanthemums and meaningful illustration of the red flower-pot reveal the distant, natural, ambitions Elisa Allen desired to attain.
Though it seems that it was the Western influence that set off this revolutionary change, a more scrutinizing look into Japanese society at the time reveals that Japan was in fact on the brink of supplanting the fixed, hierarchical Tokugawa order for one that was better suited for its fast evolving, capitalistic society. As historian David Lu states, “Our people began to discover [modern civilization’s] utility and gradually and yet actively moved towards its acceptance. However, there was an old fashioned and bloated government that stood in the way of progress.” (Lu, 351). Therefore in a way we can view the intrusion of Western powers in Japan on that infamous July day in 1853 as an event that occurred during a time when Japan was ready for a world renewal, and not a direct and complete cause of modernization of Japan; in fact it was Japan’s revaluation of modernization and what it meant to be Japanese amidst strong western influences that eventually ...
• Mishima, Yukio. The Sailor Who Fell from Grace with the Sea. Trans. John Nathan. New York: Alfred A. Knopf, Inc., 1965.
After five hundred years, Niccolo Machiavelli the man has ceased to exist. In his place is merely an entity, one that is human, but also something that is far above one. The debate over his political ideologies and theories has elevated him to a mythical status summed up in one word: Machiavelli. His family name has evolved into an adjective in the English language in its various forms. Writers and pundit’s bandy about this new adjective in such ways as, “He is a Machiavelli,” “They are Machiavelli’s,” “This is suitable for a Machiavelli.” These phrases are almost always the words of a person that understands more about Niccolo’s reputation than the man himself. Forgotten is that Machiavelli is not an adequate example of the ruler he is credited with describing; a more accurate statement would be to call someone a “Borgia” or a “Valentino.” Most of the time they are grossly mistaken in their references. All these words accomplish is to add to the legend, and the misinterpretation, of the true nature of Niccolo Machiavelli.
...e novel is a figurative war between pre-WW2 Japan and post-WW2 Japan and how the author portrays Fusako as a woman who was raised in the old ways of Japan must now try to adjust to its new westernized ways and avoid those who oppose the new Japan where in the past women weren’t allow to run businesses, but now she is, as well as how she eagerly seeks another mate due to the fact that she’s over thirty and single while trying to be the provider and nurturing mother to her fatherless son Noboru.
...high power status, Japan had to have a self-reliant industrial common ground and be able to move all human and material resources (S,195). Through the Shogun Revolution of 1868, the abolition of Feudalism in 1871, the activation of the national army in 1873, and the assembly of parliament in 1889, the political system of Japan became westernized (Q,3). Local Labor and commercial assistance from the United States and Europe allowed Japan’s industry to bloom into a developed, modern, industrial nation (Q,3). As a consequence production surplus, and food shortage followed (Q,3). Because of how much it relied on aid of western powers, Japan’s strategic position became especially weak. In an attempt to break off slightly from the aid of the west Japanese leaders believed that it would be essential for Japan to expand beyond its borders to obtain necessary raw materials.
In every direction the sea rages and growls, tumbling its inhabitants in an ever-lasting rumble. Glory, honor, and duty are washed upon the glimmering golden shores of the Japanese empire. The sturdy land-bearers clasp hands with those thrown into the savage arms of the ocean. This junction of disparate milieus forms the basis of an interlocking relationship that ties conflicting elements and motifs to paint a coherent, lucid final picture. In The Sailor Who Fell From Grace with the Sea, Mishima incorporates the impact of contradictory settings of land and sea, combative ideologies of the Western and Eastern hemispheres, and inherent dissimilarities amongst the characters’ lifestyles in order to reinforce the discrepancy between his ideal Japan and the country he observed.
Our preliminary class gave a brief, yet detailed outline of major events affecting the East Asian region. Within that class, prompted by our limited geographical knowledge of Asia, we were given a fundamental explanation of the geographical locations of the various events taking place in the region. In subsequent classes, we were introduced to the major wars, political shifts, and economic interests which shaped Japan, China and Korea to what they are today. We examined the paradigm of pre-modern Japanese governance, the Shogunate, and the trained warriors which defended lord and land, Samurai. In addition, we examined the socio-economic classes of Medieval Japan, which included the Samurai, peasants, craftsmen, and the merchants. We also examined pre-1945 Japan’s policies toward foreign entities, notably the Sakoku Policy, which sought to expunge all foreign presence and commerce in an effort to protect its borders and culture. 1945, however, saw ...
Throughout history, there has been an inescapable struggle between instilling ancestral customs and following the path of progress through adaptation. Author Yukio Mishima experienced this struggle during the time he wrote the novel The Sailor Who Fell From Grace With the Sea as his political ideology leaned towards conservatism and preserving traditional Japanese beliefs such as the samurai lifestyle. Post World War II was a transitional period for Japan as it started embracing the Western mannerisms of the Allied countries. Mishima’s internal conflict between this dichotomy -- westernization and traditionality -- is represented in the novel through the character of Noboru. Noboru struggles between his immersion in traditional
In the short story by John Steinbeck, The Chrysanthemums, symbolism, allegory and foreshadowing flood the story from start to finish. Steinbeck’s chosen words to describe the setting, plot and conclusion allows readers to evaluate and analyze the story in many ways. The story begins by describing the setting as enclosed, gray and repressive. Elisa Allen is introduced as the central character of the story, onto which the symbolism and allegory mainly affect. As the story develops further, Elisa’s encounter with a Tinker, leads her to “explode those repressed desires,” (Shockett) which have been suppressed by the symbolically “closed pot” (Steinbeck) in which the story takes place. The use of literary techniques