Yukio Mishima’s Temple of the Golden Pavilion, set in postwar Japan, gives way to a reflection of the postwar experience both the representation of military aggression and in use of symbolism of beauty, loss, and destruction. A story about Mizoguchi, a young, stuttering acolyte’s obsession with beauty lends itself to the conflagration of the Temple of the Golden Pavilion, based loosely on a true story about the Kinkaku-ji. War and its effects are references throughout the novel, giving a window to experiences of the war and postwar through the actions of military officers. A woman, Uiko, of who Mizoguchi is interested in, insults his stutter. She is seen later helping a deserter. The kempei, the Japanese military police, sought after her and she confided the deserter's location (15). Mizoguchi witnesses all of this, concluding in Uiko’s death after being shot by the betrayed deserter, “Insensitive people are only upset when …show more content…
It really brings in the idea of beauty from destruction, this idea being the main focus of the novel and a source of obsession for Mizoguchi. This symbolism is parallel to Japan and its reconstruction, coming from the “ashes” of the war, both literally and figuratively. The real Kinkaku-ji, for which the book was based on and a symbol of Kyoto, was burned down after a monk committed arson in 1950 (Bridges). Later reconstructed, it became a true symbol of the destruction and remaking of Japan after World War II. Yukio Mishima’s Temple of the Golden Pavilion represents the hardships, evil, and rebirth throughout the timeline of the war and after, creating the individual experience and perspective of a young man fighting his own personal, internal wars. This is highlighted through first person accounts of brutal acts of military officials and the contrast of the beauty in
Sometimes people are judged by their looks, and preferences will be made towards the more beautiful people before the less beautiful people. What individuals don’t put into account is that the person’s personality is part of their beauty. In Gail Tsukiyama’s novel, The Samurai’s Garden, through the characterization of Sachi’s personality and adversities, Gail Tsukiyama conveys the message that beauty is deeper than just the outside and this message is important because one shouldn’t judge someone just by their looks.
War is often thought about as something that hardens a soldier. It makes a person stronger emotionally because they are taught not show it and deal with it internally. People say that death in war is easier to handle because it is for the right reasons and a person can distance themselves from the pain of losing someone. However, there is always a point when the pain becomes too real and it is hard to maintain that distance. In doing so, the story disputes the idea that witnessing a traumatic event causes a numbing or blockage of feelings. Rat Kiley’s progression of sentiment began with an initial concern for the buffalo, transforming into an irate killing of the animal, and then ending with an ultimate acceptance of death. These outward displays of feeling suggested that witnessing the death of a close friend caused him to become emotionally involved in the war.
Another unique aspect to this book is the constant change in point of view. This change in point of view emphasizes the disorder associated with war. At some points during the book, it is a first person point of view, and at other times it changes to an outside third person point of view. In the first chapter of the book, “The Things They Carried,” O’Brien writes, “The things they carried were largely determined by necessity (2).
The violent nature that the soldiers acquired during their tour in Vietnam is one of O'Brien's predominant themes in his novel. By consciously selecting very descriptive details that reveal the drastic change in manner within the men, O'Brien creates within the reader an understanding of the effects of war on its participants. One of the soldiers, "Norman Bowler, otherwise a very gentle person, carried a Thumb. . .The Thumb was dark brown, rubbery to touch. . . It had been cut from a VC corpse, a boy of fifteen or sixteen"(O'Brien 13). Bowler had been a very good-natured person in civilian life, yet war makes him into a very hard-mannered, emotionally devoid soldier, carrying about a severed finger as a trophy, proud of his kill. The transformation shown through Bowler is an excellent indicator of the psychological and emotional change that most of the soldiers undergo. To bring an innocent young man from sensitive to apathetic, from caring to hateful, requires a great force; the war provides this force. However, frequently are the changes more drastic. A soldier named "Ted Lavender adopted an orphaned puppy. . .Azar strapped it to a Claymore antipersonnel mine and squeezed the firing device"(O'Brien 39). Azar has become demented; to kill a puppy that someone else has adopted is horrible. However, the infliction of violence has become the norm of behavior for these men; the fleeting moment of compassion shown by one man is instantly erased by another, setting order back within the group. O'Brien here shows a hint of sensitivity among the men to set up a startling contrast between the past and the present for these men. The effect produced on the reader by this contrast is one of horror; therefore fulfilling O'Brien's purpose, to convince the reader of war's severely negative effects.
Tim O’Brien states in his novel The Things They Carried, “The truths are contradictory. It can be argued, for instance, that war is grotesque. But in truth war is also beauty. For all its horror, you can’t help but gape at the awful majesty of combat” (77). This profound statement captures not only his perspective of war from his experience in Vietnam but a collective truth about war across the ages. It is not called the art of combat without reason: this truth transcends time and can be found in the art produced and poetry written during the years of World War I. George Trakl creates beautiful images of the war in his poem “Grodek” but juxtaposes them with the harsh realities of war. Paul Nash, a World War I artist, invokes similar images in his paintings We are Making a New World and The Ypres Salient at Night. Guilaume Apollinaire’s writes about the beautiful atrocity that is war in his poem “Gala.”
Ozick explains the affect of war on each individual in a family. She discussed the physical pain felt by Magda the infant, the Change of morality in Stella and Rosa physiological effect of the war. The Shawl story can also be related to the two experiments done by Zimbardo and Milgram, of war and how people obey orders no matter what they are told to do, even if it tells them to kill, they will obey. Zimbaro explained how the guards lost their morals, and used their power too physically and psychologically hurt the prisoners. Also in Milgram’s experiment it showed how the teachers lose their moalies when it comes to obeying the orders even if it requires them to hurt another human. Those three stories give us an idea of how war can have negative effect on anyone. Also that everyone has some good and some bad in them, because we are all humans. But a person should watch out and be careful if they are place in a harsh condition, and to think critically before they
Yukio Mishima’s novel The Sailor Who Fell from Grace with the Sea is a powerful allegorical novel written in Japan after World War II. It is deeply steeped in Japanese culture, and much of its deeper meaning can be lost to the western audience. One such example is the use of Summer and Winter as the titles for the two parts of the novel. In Japan, kigo and kidai are words and concepts that are traditionally associated with the different seasons. These range from obvious, such as the connection between summer and heat, to obscure, such as autumn and remembrance of the dead. Mishima wrote waka, a form of classical Japanese poetry from a young age and would have been familiar with these connections (“Yukio Mishima - Biography”). Within the novel, Ryuji experiences changes in his characterization, from a honor-bound sailor looking for a good death to a man trying to feel like he belongs with his new lover, to the worst thing of all (in the mind of Noboru), a father. The Sailor Who Fell from Grace with the Sea’s division into summer and winter informs Ryuji’s shift in characterization through reference to traditional Japanese seasonal concepts; furthermore, this adds additional allegorical commentary on the cultural changes within Japan.
Stories about war and implements of such can be observed throughout the course of Japanese history. This shows the prevalence of martial training and the profession of arms as a tradition that has not faded since ancient times (Friday and Humitake 13).
Individuals everywhere grimace at war. Images of the strike of the gun, the burst of the bombs, and the clash of the soldiers all elicit a wince and a shiver. Moviegoers close their eyes during gory battle scenes and open them again only once the whine of the bullets stops rattling in their ears. War is hell, as the common aphorism goes, and the pain of war is equally hellish. Most individuals naturally accept this conclusion despite never experiencing war themselves. Without enduring the actual pain of war injuries, individuals still argue the importance war and its miseries. Individuals rely on media and entertainment for education about the suffering and evils of war. Writers provide an acute sense of a soldier’s physical and mental burdens through vivid imagery and relatable metaphors. Books can express the seemingly inexpressible pain of war through graphic descriptions. Individuals may then assess war—its how and why, its causes and effects—with greater insight. The writer may use the audience’s acquired understanding of war’s pain to address the significance of suffering. Through the clarity and horror of war descriptions, a writer may successfully convey the pain of war and his or her perspective and purpose to a general audience. Through the use of startling imagery, both Tim O’Brien in The Things They Carried and Laura Hillenbrand in Unbroken effectively recreate the pain of war for an audience which could not otherwise fathom its magnitude. However, while O’Brien uses his descriptions to criticize the evils which cause the pain, Hillenbrand employs her equally vivid images to praise the resilience which results from the pain.
There is a major change in the men in this novel. At first, they are excited to join the army in order to help their country. After they see the truth about war, they learn very important assets of life such as death, destruction, and suffering. These emotions are learned in places like training camp, battles, and hospitals. All the men, dead or alive, obtained knowledge on how to deal with death, which is very important to one’s life.
Isami's House, by Gail Lee Bernstein, is a rare multi-generational book that explains the history of a Japanese family. The book filtrates between the beginning of the Tokugawa era and what is now present day. Isami’s House is a piece that appears at first to be a scholarly work of one middle-class Japanese clan's dynasty, but manages instead to tell a story of success and tragedy, that is appealing and entertains the reader. Throughout the story, Bernstein emphasizes on the Japanese culture during the time period, Isami’s family’s lives and their personal stories.
In The Samurai’s Garden, Stephen, a young man from China, travels to Tarumi, a little seaside village in Japan, to recover from tuberculosis. During that time, China is being invaded by the Japanese. Matsu, the caretaker of his house in Tarumi, introduces him to Sachi, a woman plagued with leprosy. Gail Tsukiyama, the author of the book, utilizes indirect characterization, through Sachi’s experiences with gardening and the challenges from leprosy, to educate the reader that physical beauty has no correlation to one’s true inner beauty and holds less importance.
3. Mackerras, Colin. The Japanese Theatre in Modern Times. Amherst. University of Massachusetts Press, 1975.
• Mishima, Yukio. The Sailor Who Fell from Grace with the Sea. Trans. John Nathan. New York: Alfred A. Knopf, Inc., 1965.
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.