（?雅思精讀）三島由紀(jì)夫一位日本作家的奇聞

【?雅思精讀】三島由紀(jì)夫：一位日本作家的奇聞，很多同學(xué)對(duì)于這個(gè)問(wèn)題有疑問(wèn)和不解，那么下面就跟著中國(guó)教育在線的小編詳細(xì)了解一下吧。

Yukio Mishima: The strange tale of Japans infamous novelist

三島由紀(jì)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(jì)夫身材矮小，溫文爾雅，他站在陽(yáng)臺(tái)上，就像在舞臺(tái)上一樣，吸引了集合的衛(wèi)士軍官。三島由紀(jì)夫原名平岡松威。1970年代，他是日本最有名的小說(shuō)家。1970年11月25日，他來(lái)到東京的一個(gè)軍事基地，綁架了他們的指揮官，召集軍隊(duì)，想要發(fā)動(dòng)軍變。他譴責(zé)當(dāng)時(shí)以北國(guó)為后盾的政府和制度，斥責(zé)士兵的卑躬屈膝，想要恢復(fù)天皇戰(zhàn)前作為國(guó)家領(lǐng)袖的地位。起初，士兵們都沒(méi)有說(shuō)話，或者說(shuō)他們被嚇到了，但是很快，此起彼伏的哄笑淹沒(méi)了三島由紀(jì)夫的聲音，他退回屋里，說(shuō)：他們都沒(méi)聽(tīng)懂我在說(shuō)什么。緊接著，跪下來(lái)，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(jì)夫之死轟動(dòng)了日本。當(dāng)時(shí)，他是日本文壇明星，他男性氣概十足，敢于挑戰(zhàn)但同時(shí)也有點(diǎn)荒謬，就像美國(guó)作家諾曼梅勒和當(dāng)代法國(guó)作家米歇爾維勒貝那樣。但那些看起來(lái)很是荒誕的一切突然成為了現(xiàn)實(shí)。那天早上，日本第64屆國(guó)會(huì)正在召開(kāi)，天皇本人也出席了會(huì)議。他的自殺使得人們無(wú)暇關(guān)注日本首相關(guān)于明年政府議程的講話。自二戰(zhàn)結(jié)束之后，還沒(méi)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(xué)家石黑浩1975年為《紐約時(shí)報(bào)》撰寫的一篇評(píng)論文章中說(shuō)，有的人覺(jué)得他瘋了，有的人則認(rèn)為這是他一系列行為藝術(shù)的結(jié)尾，這是他想要引起轟動(dòng)的舉措，沒(méi)想到卻讓他臭名遠(yuǎn)揚(yáng)。少數(shù)右翼人士將他的自殺視為一種愛(ài)國(guó)行為，視為是對(duì)當(dāng)今日本的一種抗議。有些人則認(rèn)為這是一場(chǎng)令人絕望的可怕鬧劇，一場(chǎng)由一個(gè)無(wú)法忍受中年生活的平庸的天才導(dǎo)演的鬧劇。三島由紀(jì)夫曾對(duì)妻子說(shuō)：人們現(xiàn)在不明白我，這沒(méi)關(guān)系，50或者100年以后，他們會(huì)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(jì)夫憑借自傳體小說(shuō)《假面自白》確定其在日本文壇地位，這本小說(shuō)讓他在二十多歲時(shí)就蜚聲文壇。小說(shuō)講述了一個(gè)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(lái)，他沒(méi)法像其他男孩一樣出去玩耍，而是被關(guān)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(gè)小房間里成長(zhǎng)的?；孟牒同F(xiàn)實(shí)像孿生兄弟一樣，從來(lái)沒(méi)能分開(kāi)。幻想甚至變得更加強(qiáng)大，占據(jù)了主導(dǎo)地位。祖母去世之后，男孩終于從小房間走出來(lái)，但是那時(shí)候，他已經(jīng)愛(ài)上了這種角色扮演的游戲，生活對(duì)他來(lái)說(shuō)，就像戲劇一樣。他忍不住對(duì)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(dá)，耿直坦率的男人是他白日夢(mèng)里經(jīng)常扮演的角色。他癡迷于自己的與眾不同的同時(shí)，也讓自己看起來(lái)與常人無(wú)二。他學(xué)會(huì)了如何演好自己的角色：假面舞會(huì)開(kāi)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(shuō)《假面自白》也講述了男孩的青春期，詳細(xì)描述了男孩內(nèi)心世界和外部世界的交織演變，也講述了他同性戀意識(shí)的覺(jué)醒?？偟膩?lái)說(shuō)，這部小說(shuō)是理解三島由紀(jì)夫晚期生活和作品的關(guān)鍵。這部小說(shuō)揭示了三島由紀(jì)夫?qū)徝赖钠鹪矗龒u由紀(jì)夫的審美和性密切相關(guān)，他對(duì)此有一種很深的癡迷。《假面自白》中，敘述者寫道，他接受了戰(zhàn)爭(zhēng)期間流行的死亡信條。當(dāng)時(shí)，征兵和自我犧牲就在眼前。事實(shí)上，三島由紀(jì)夫認(rèn)為，消逝之時(shí)即為美，在他看來(lái)，毀滅即為美。他的這一美學(xué)觀點(diǎn)和他的男性崇拜交織在一起，而男性氣質(zhì)正式小說(shuō)敘述者所缺乏的。這種交織，引起了對(duì)英勇戰(zhàn)士及其以身殉死的幻想。這個(gè)暗夜，血腥和死亡交織的世界里充滿了殘忍和罪惡，而小說(shuō)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(shí)，《假面自白》也暗含了現(xiàn)實(shí)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(jì)夫自己的寫作和生活。小說(shuō)讓人覺(jué)得，三島由紀(jì)夫自己在黑暗中苦苦掙扎，同時(shí)也讓人覺(jué)得這一切都只是媒體和宣傳的操縱。三島由紀(jì)夫在抨擊社會(huì)的同時(shí)，也對(duì)其保留一點(diǎn)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(jì)夫的寫作原則，這讓他成為戰(zhàn)后日本文學(xué)的天才，在國(guó)內(nèi)吸引了廣泛的關(guān)注。雖然三島由紀(jì)夫看上去很頹廢，但是他是一位自律而又多產(chǎn)的作家，除了各種文學(xué)作品和戲劇，他還寫作了大量流行小說(shuō)。他自己也是以同樣的面目走進(jìn)了東京上流社會(huì)，把自己打造成了時(shí)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(lái)。他是國(guó)外駐日本媒體的寵兒，他竭盡所能在太平洋彼岸擴(kuò)大自己的影響了，他成功了。三島由紀(jì)夫的傳記作家約翰內(nèi)森寫道，如果說(shuō)索尼的森田昭夫是海外最知名的日本人，那么三島由紀(jì)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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