Dugin’s Guideline – The day of the death of Yukio Mishima


Mishima is considered the leading Japanese writer of the twentieth century. In his personality we see the dramatic combination of Western trends and underlying root reaction of the Japanese identity, a kind of Japanese Design. Mishima – identity is tragic and painful, something perverty. But it’s not just his individual fate is a portrait of the Japan of the twentieth century, appeared at first under strong Western influence, and later under direct occupation, but seeking at all costs to defend their identity, to persist and not to disappear.

Novels of Mishima painful. We don’t see a good end or a bright utopias. He is torn between the European literary and philosophical trends – Nietzscheanism, individualism, skepticism and Buddhist Japanese beginning, manifested in culture, art, Kabuki, traditional Japanese ethics of samurai service.Heroes Mishima at the same time and perfect, as they have an iron will, incredible courage, the ability to achieve their goals, but also deeply hurt – they fell out traditional culture, from the structure of the sacred and lost in the gaping abyss of nihilism, the open Europeans.

This drama is making books and plays are great works of Mishima. He is extremely honest and candid: he describes the power of the body and severe disease of the spirit. Since childhood, being weak and feminine child, it is through exhausting the ongoing training makes your body sculpture, striving for perfection. He practices the traditional martial art of Japan, immersed in their philosophy. In addition, it glorifies the samurai ethic of loyalty and honor, service and humility. But it only inflames his indomitable rebellious spirit, full of contradictions and inconsistencies.

In the end, Mishima is increasingly drawn to politics. After the defeat in world war II Japan was under American occupation. While the occupation authorities, knowing that the strength of Japanese culture is rooted in their ancient spiritual traditions, began to uproot the spirit. Gaining control over matter, the Americans began to re-educate the Japanese soul, banishing all from the culture that nurtured a love for their identity, independence and greatness.

Mishima saw in this the main cause of your personal pain and of schism, which is embodied in his work. Itself is a Japanese tradition already tragic, but this tragedy and the pain are deeply Japanese. They become clear and meaningful only in the Japanese context. Here is Japanese Japanese good and evil, equally inaccessible to the Europeans, whose coordinate system is fundamentally different.

Mishima, like the philosophers of the Kyoto school sees that it is in the logic: the European logic of the dual, it is either something there or not. In the Japanese Buddhist context, something can simultaneously be present and absent. But only Japanese can understand these Zen paradoxes.

And this itself is a difficult and paradoxical Japanese identity, full of their Japanese conflict, was subjected after the war, rough and straight to the pressure of American occupation authorities. This understanding was born the political platform Yukio Mishima: you need to free Japan from American hegemony, occupation and liberal lies. And for this, according to Mishima, it is necessary to raise a rebellion in the name of the Emperor. To mobilize troops, build military samurai order and the uprising. This is necessary in order to drain the Swamp of post-war and to make Japan great again.

But instead of going towards that goal methodically and gradually strengthening the structure of the plot, preparing authentic Japanese elite, carefully educating a new generation, again makes itself felt individualism and spontaneity Yukio Mishima. Not wanting to know anything and not going to wait for anything, he and his faithful companions penetrates to the military base of the ground self-defense force, takes a hostage and turns to the commander of the troops, urging them to start an uprising in the name of the Emperor and great Japan.Troops do not react, realizing that lost, Mishima commits ritual seppuku of the samurai – a Hara-Kiri. So he ends his life and his creativity on the highest point of the Japanese doomed tragic Acme. Mishima is the author of dying in the same way as the characters in his works, placing between them the equal sign and paying with their lives for their cultural, aesthetic and political views.

All the best, have you watched the program “Directive Dugin” on Mishima.

I want to add: what else do we expect? All you have to pay. And the higher the ideal, the higher the price.

See the archive transmission – http://tsargrad.tv

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