Yukio Mishima

Japanese author (1925–1970)

The native form of this personal name is Mishima Yukio. This article uses Western name order when mentioning individuals.

Yukio Mishima

三島由紀夫

Mishima in 1955

Born|

Kimitake Hiraoka

(1925-01-14)14 January 1925

Nagazumi-cho 2-banchi, Yotsuya-ku, Tokyo City, Tokyo Prefecture, Empire of Japan[1]

Died| 25 November 1970(1970-11-25) (aged 45)

* JGSDF Camp Ichigaya
* Ichigaya Honmura-chō, Shinjuku, Tokyo, Japan

Cause of death| Suicide by seppuku
Resting place| Tama Cemetery, Tokyo
Education| University of Tokyo (LLB)
Occupations|

* Writer
* playwright
* actor
* model
* theatre and film director
* civil servant
* political activist

Employers|

* Ministry of the Treasury
* Theatre "Bungakuza"

Organization| Tatenokai ("Shield Society")
Writing career
Pen name| Yukio Mishima[2]
Language| Japanese
Period| Contemporary (20th century)
Genres|

* Novel
* novella
* short story
* drama (shingeki
* noh
* kabuki
* libretto
* translated adaptation)
* script
* poetry
* travelogue
* autobiographical, critical and other essays
* lecture
* manifesto

Literary movement|

* Postmodernism
* fusion

Years active| 1938–1970
Notable works|

* Confessions of a Mask
* The Temple of the Golden Pavilion
* The Sea of Fertility

Japanese name
Kanji| 三島 由紀夫
| Transcriptions

Romanization| Mishima Yukio
Japanese name
Kanji| 平岡 公威
| Transcriptions

Romanization| Hiraoka Kimitake
Signature

Kimitake Hiraoka (平岡 公威, Hiraoka Kimitake; 14 January 1925 – 25 November 1970), known by his pen name Yukio Mishima[a] (三島 由紀夫, Mishima Yukio), was a Japanese author, poet, playwright, actor, model, Shintoist, ultranationalist,[7][8][9][10] and the leader of an attempted coup d'état that culminated in his seppuku (ritual suicide).

Mishima is considered one of the most important postwar stylists of the Japanese language. He was nominated for the Nobel Prize in Literature five times in the 1960s—including in 1968, when the award went to his countryman and benefactor Yasunari Kawabata.[11] Mishima's works include the novels Confessions of a Mask and The Temple of the Golden Pavilion, and the autobiographical essay Sun and Steel. Mishima's work is characterized by "its luxurious vocabulary and decadent metaphors, its fusion of traditional Japanese and modern Western literary styles, and its obsessive assertions of the unity of beauty, eroticism and death",[12] according to the author Andrew Rankin.

Mishima's political activities made him a controversial figure; he remains so in Japan to the present day.[13][14][15][16] From his mid-30s onwards, Mishima's far-right ideology and reactionary beliefs became increasingly evident.[16][17][18] He extolled the traditional culture and spirit of Japan, and opposed what he saw as Western-style materialism, along with Japan's postwar democracy, globalism, and communism, worrying that by embracing these ideas the Japanese people would lose their "national essence" (kokutai) and distinctive cultural heritage to become a "rootless" people.[19][20][21]

In 1968, Mishima formed the Tatenokai ("Shield Society"), a private militia, for the purpose of protecting the dignity of the emperor as a symbol of national identity.[22][23][24][25] On 25 November 1970, Mishima and four members of his militia entered a military base in central Tokyo, took its commandant hostage, and unsuccessfully tried to inspire the Japan Self-Defense Forces to rise up and overthrow Article 9 of the 1947 Constitution to restore autonomous national defense[26][27][28][20] and the divinity of the emperor,[28][20] after which he died by seppuku.[27][28]

## Life and work

[edit]

### Early life

[edit]

Mishima in his childhood (April 1931, at the age of 6)

On 14 January 1925, Yukio Mishima (三島由紀夫, Mishima Yukio) was born Kimitake Hiraoka (平岡公威, Hiraoka Kimitake) in Nagazumi-cho, Yotsuya-ku of Tokyo City (now part of Yotsuya, Shinjuku-ku, Tokyo). His father was Azusa Hiraoka (平岡梓), a government official in the Ministry of Agriculture and Commerce.[29] His mother, Shizue (平岡倭文重), was the daughter of the 5th principal of the Kaisei Academy. Shizue's father, Kenzō Hashi (橋健三), was a scholar of the Chinese classics, and the Hashi family had served the Maeda clan for generations in Kaga Domain. Mishima's paternal grandparents were Sadatarō Hiraoka, the third Governor-General of Karafuto Prefecture, and Natsuko (family register name: Natsu) (平岡なつ). Mishima received his birth name Kimitake (公威, also read Kōi in on-yomi) in honor of Furuichi Kōi who was a benefactor of Sadatarō.[30] He had a younger sister, Mitsuko (平岡美津子), who died of typhus in 1945 at the age of 17, and a younger brother, Chiyuki (平岡千之).[31][32]

Mishima's childhood home was a rented house, though a fairly large two-floor house that was the largest in the neighborhood. He lived with his parents, siblings and paternal grandparents, as well as six maids, a houseboy, and a manservant.

Mishima's early childhood was dominated by the presence of his grandmother, Natsuko, who took the boy and separated him from his immediate family for several years.[33] She was the granddaughter of Matsudaira Yoritaka, the daimyō of Shishido, which was a branch domain of Mito Domain in Hitachi Province;[b] therefore, Mishima was a descendant of the founder of the Tokugawa Shogunate, Tokugawa Ieyasu, through his grandmother.[34][35][36] Natsuko's father, Nagai Iwanojō (永井岩之丞), had been a Supreme Court justice, and Iwanojō's adoptive father, Nagai Naoyuki, had been a bannerman of the Tokugawa House during the Bakumatsu.[34] Natsuko had been raised in the household of Prince Arisugawa Taruhito, and she maintained considerable aristocratic pretensions even after marrying Sadatarō, a bureaucrat who had made his fortune in the newly opened colonial frontier in the north, and who eventually became Governor-General of Karafuto Prefecture on Sakhalin Island.[37] Sadatarō's father, Takichi Hiraoka (平岡太吉), and grandfather, Tazaemon Hiraoka (平岡太左衛門), had been farmers.[34][c] Natsuko was prone to violent outbursts, occasionally alluded to in Mishima's works,[39] to which some biographers have traced Mishima's fascination with death.[40] She did not allow Mishima to venture into the sunlight, engage in any kind of sport, or play with other boys. He spent much of his time either alone or with female cousins and their dolls.[41][39]

Mishima's father, Azusa, had a taste for military discipline, and worried Natsuko's style of childrearing was too soft. When Mishima was returned to his immediate family at the age of 12, Azusa employed extreme parenting tactics, such as holding young Mishima up close to the side of a speeding steam locomotive.[42][43][44] He also raided his son's room for evidence of an "effeminate" interest in literature, and often ripped his son's manuscripts apart.[45][46] Although Azusa forbade him from writing any further stories, Mishima continued to write in secret, supported and protected by his mother, who was always the first to read a new story.[45][46]

When Mishima was 13, Natsuko took him to see his first Kabuki play: The Treasury of Loyal Retainers, an allegory of the story of the 47 Rōnin. He was later taken to his first Noh play (Miwa, a story featuring Amano-Iwato) by his maternal grandmother Tomi Hashi (橋トミ). From these early experiences, Mishima became addicted to Kabuki and Noh. He began attending performances every month and grew deeply interested in these traditional Japanese dramatic art forms.[47][48]

### Schooling and early works

[edit]

Mishima's self-portrait drawn in junior high school

Mishima was enrolled at the age of six in the elite Gakushūin, the Peers' School in Tokyo, which had been established in the Meiji period to educate the Imperial family and the descendants of the old feudal nobility.[49] Mishima began to write his first stories aged 12, taking inspiration from myths (Kojiki, Greek mythology, etc.) and the works of numerous classic Japanese authors, as well as Raymond Radiguet, Jean Cocteau, Oscar Wilde, Rainer Maria Rilke, Thomas Mann, Friedrich Nietzsche, Charles Baudelaire, l'Isle-Adam, and other European authors. He also studied German. After six years as a pupil, he became the youngest member of the editorial board of its literary society. Mishima was particularly drawn to the works of Japanese poet Shizuo Itō (伊東静雄), Haruo Satō, and Michizō Tachihara, who inspired Mishima's appreciation of classical Japanese waka poetry. Mishima's early contributions to the Gakushūin literary magazine Hojinkai-zasshi (輔仁会雑誌)[d] included haiku and waka poetry before he turned his attention to prose.[50]

In 1941, at the age of 16, Mishima was invited to write a short story for the Hojinkai-zasshi, where he submitted Forest in Full Bloom (花ざかりの森, Hanazakari no Mori), a story in which the narrator describes the feeling that his ancestors somehow still live on within him. The story displays several metaphors and aphorisms that would become Mishima's hallmarks.[e] He also sent a copy of the manuscript to his teacher Fumio Shimizu (清水文雄), who was so impressed that he and his fellow editorial board members decided to publish it in their literary magazine Bungei Bunka (文藝文化).[53]

In order to protect him from potential backlash from Azusa, Shimizu and the other editorial board members coined the pen-name Yukio Mishima.[53] They took "Mishima" from Mishima Station, which Shimizu and his fellow Bungei Bunka board member Hasuda Zenmei passed through on their way to the editorial meeting, which was held in Izu, Shizuoka. The name "Yukio" came from yuki (雪), the Japanese word for "snow", because of the snow they saw on Mount Fuji as the train passed.[53] The story was later published as a limited book edition (4,000 copies) in 1944 due to a wartime paper shortage. Mishima had it published as a keepsake to remember him by, as he assumed that he would die in the war.[54][55]

In the editorial notes of Bungei Bunka magazine in 1941, when this debut work was serialized, Hasuda praised Mishima's genius: "This youthful author is a heaven-sent child of eternal Japanese history. He is much younger than we are, but has arrived on the scene already quite mature."[56] Hasuda, who became something of a mentor to Mishima, was an ardent nationalist and a fan of Motoori Norinaga (1730–1801), a scholar of kokugaku from the Edo period who preached Japanese traditional values and devotion to the emperor.[57] Hasuda had previously fought for the Imperial Japanese Army in China in 1938, and in 1943 he was recalled to active service for deployment as a first lieutenant in the Southeast Asian theater.[58] At a farewell party thrown for Hasuda by the Bungei Bunka group, Hasuda offered the following parting words to Mishima: "I have entrusted the future of Japan to you." According to Mishima, these words were deeply meaningful to him, and had a profound effect on the future course of his life.[59][60][61]

Later in 1941, Mishima wrote an essay about his deep devotion to Shintō, titled The Way of the Gods (惟神之道, Kannagara no michi).[62] Mishima's story The Cigarette (煙草, Tabako), published in 1946, describes a homosexual love he felt at school and being teased from members of the school's rugby union club because he belonged to the literary society. Another story from 1954, The Boy Who Wrote Poetry (詩を書く少年, Shi o kaku shōnen), was similarly based on Mishima's memories of his time at Gakushūin Junior High School.[63]

On 9 September 1944, Mishima graduated Gakushūin High School at the top of the class, becoming a graduate representative.[64][65] Emperor Hirohito was present at the graduation ceremony, with Mishima later receiving a silver watch from him at the Imperial Household Ministry.[64][65][66][67]

On 27 April 1944, during the final years of World War II, Mishima received a draft notice for the Imperial Japanese Army, barely passing his conscription examination on 16 May 1944 with a less desirable rating of "second class" conscript. Scholars have argued that Mishima's failure to receive a "first class" rating on his conscription examination (reserved only for the most physically fit recruits), in combination with the illness which led him to be erroneously declared unfit for duty, contributed to an inferiority complex over his frail constitution that later led to his obsession with physical fitness and bodybuilding.[68]

Mishima had a cold during his medical check on convocation day (10 February 1945), which the army doctor misdiagnosed as tuberculosis; Mishima was consequently declared unfit for service and sent home.[69][70][71] Mishima would later hint in his quasi-autobiographical novel Confessions of a Mask (1949) that he might have lied to the doctor in order to secure the misdiagnosis.[72] Mishima wrote:

> Why had I looked so frank as I lied to the army doctor? Why had I said that I'd been having a slight fever for over half a year, that my shoulder was painfully stiff, that I spit blood, that even last night I had been soaked by a night sweat?...Why when sentenced to return home the same day had I felt the pressure of a smile come pushing so persistently at my lips that I had difficulty in concealing it? Why had I run so when I was through the barracks gate? Hadn't my hopes been blasted? What was the matter that I hadn't hung my head and trudged away with heavy feet? I realized vividly that my future life would never attain heights of glory sufficient to justify my having escaped death in the army...[72][73]

The veracity of this account is impossible to know for certain, but what is unquestionable is that Mishima did not speak out against the doctor's diagnosis of tuberculosis.[74][75] Researchers have speculated that Mishima's guilt at allowing himself to escape death in the war left a lasting impression on his life and writing, possibly contributing to his later suicide.[74][75]

The day before his failed medical examination, Mishima had written a farewell message to his family, ending with the words "Long live the Emperor!" (天皇陛下万歳, Tennō heika banzai), including hair and nail clippings as mementos for his parents.[70][76] The unit that Mishima would have enlisted in was eventually sent to the Philippines, with few survivors.[69][71] Mishima's parents were ecstatic that he did not have to go to war, but Mishima's mood was harder to read, and Mishima's mother overheard him express a wish that he could have joined a "Special Attack" unit.[70][71] He also expressed an admiration for kamikaze pilots and other "special attack" units.[77][78][79] In a 21 April 1945 letter to a friend, Mishima wrote:

> It was through the kamikazes that "modern man" has finally been able to grasp the dawning of the "present day", or perhaps better said, "our historical era" in a true sense, and for the first time the intellectual class, which until now had been the illegitimate child of modernity, became the legitimate heir of history. I believe that all of this is thanks to the kamikazes. This is the reason why the entire cultural class of Japan, and all people of culture around the world, should kneel before the kamikazes and offer up prayers of gratitude.[80][77][79]

Mishima was deeply affected by Emperor Hirohito's radio broadcast announcing Japan's surrender on 15 August 1945, vowing to protect Japanese cultural traditions and to help to rebuild Japanese culture after the destruction of the war.[81][82][83] He wrote in his diary, "Only by preserving Japanese irrationality will we be able contribute to world culture 100 years from now."[84][85][86]

Mishima at age 19, with his sister at age 16 (on 9 September 1944)

Four days after Japan's surrender, Mishima's mentor Zenmei Hasuda, who had been drafted and deployed to the Malay peninsula, shot and killed his superior officer, who blamed Japan's defeat on the Emperor.[87] Hasuda had long suspected the officer to be a Korean spy.[87] After shooting him, Hasuda turned his pistol on himself.[87] Mishima learned of the incident a year later and contributed poetry in Hasuda's honor at a memorial service in November 1946.[87] On 23 October 1945 (Showa 20), Mishima's beloved younger sister Mitsuko died suddenly at the age of 17 from typhoid fever after drinking untreated water.[88][89] Around the same time, he also learned that Kuniko Mitani (三谷邦子), a classmate's sister whom he had hoped to marry, was engaged to another man.[90][91][f] Mishima used these events as inspiration and motivation for his later literary work.[93][94][95][90]

At the end of the war, his father Azusa "half-allowed" Mishima to become a novelist. He was worried that his son would become a professional novelist, preferring instead that his son follow in the footsteps of himself and Mishima's grandfather Sadatarō and become a bureaucrat. To this end, he advised his son to enroll in the Faculty of Law instead of the literature department.[96] Attending lectures during the day and writing at night, Mishima graduated from the University of Tokyo in 1947. He obtained a position in the Ministry of the Treasury and was set for a promising career as a government bureaucrat. However, after just one year of employment, Mishima had exhausted himself so much that his father agreed to allow him to resign from his post and devote himself to writing full time.[97]

In 1945, Mishima began the short story "A Story at the Cape" (岬にての物語, Misaki nite no Monogatari) and continued to work on it throughout World War II. After the war, the story was praised by poet Shizuo Itō (伊東静雄), whom Mishima respected.[98][99]

### Post-war literature

[edit]

Mishima with his cat (Asahigraph, 12 May 1948 issue). He was known as a cat-lover.[100][101] Yōko (his wife) was jealous of his pet cat, and disliked him petting it.[100][101]

After Japan's defeat in World War II, the country was occupied by the U.S.-led Allied Powers. At the urging of the occupation authorities, many people who held important posts in various fields were purged from public office. The media and publishing industry were also censored, and were not allowed to engage in forms of expression reminiscent of wartime Japanese nationalism.[g] In addition, literary figures, including many of those who had been close to Mishima before the end of the war, were branded "war criminal literary figures". In response, many prominent literary figures became leftists, joined the Communist Party as a reaction against wartime militarism, and began writing socialist realist literature that might support the cause of socialist revolution.[104] These newly converted leftists held great influence in the Japanese literary world immediately following the end of the war, which Mishima found difficult to accept, and he denounced them as "opportunists" in letters to friends.[105][106][107] Although Mishima was just 20 years old at this time, he worried that his type of literature, based on the 1930s Japanese Romantic School (日本浪曼派, Nihon Rōman Ha), had already become obsolete.[108][109]

Mishima had heard that the famed writer Yasunari Kawabata had praised his work before the end of the war. Uncertain of who else to turn to, Mishima took the manuscripts for The Middle Ages (中世, Chūsei) and The Cigarette (煙草, Tabako) with him, visited Kawabata in Kamakura, and asked for his advice and assistance in January 1946.[110][111] Kawabata was impressed, and in June 1946, following Kawabata's recommendation, The Cigarette was published in the new literary magazine Humanity (人間, Ningen), followed by The Middle Ages in December 1946.[112] The Middle Ages is set in Japan's historical Muromachi Period and explores the motif of shudō (man-boy love) against a backdrop of the death of the ninth Ashikaga shogun Ashikaga Yoshihisa in battle at the age of 25, and his father Ashikaga Yoshimasa's resultant sadness. The story features the fictional character Kikuwaka, a beautiful teenage boy who was beloved by both Yoshihisa and Yoshimasa, who fails in an attempt to follow Yoshihisa in death by committing suicide. Thereafter, Kikuwaka devotes himself to spiritualism in an attempt to heal Yoshimasa's sadness by allowing Yoshihisa's ghost to possess his body, and eventually dies in a double-suicide with a miko (shrine maiden) who falls in love with him. Mishima wrote the story in an elegant style drawing upon medieval Japanese literature and the Ryōjin Hishō, a collection of medieval imayō songs. This elevated writing style and the homosexual motif suggest the germ of Mishima's later aesthetics.[112] Later in 1948 Kawabata, who praised this work,[113] published an autobiographical work Boy (少年, Shōnen) describing his experience of falling in love for the first time with a boy two years his junior.[114][115]

Mishima aged 28(in January 1953)

In 1946, Mishima began his first novel, Thieves (盗賊, Tōzoku), a story about two young members of the aristocracy drawn towards suicide. It was published in 1948, and placed Mishima in the ranks of the Second Generation of Postwar Writers. The following year, he published Confessions of a Mask, a semi-autobiographical account of a young homosexual man who hides behind a mask to fit into society. The novel was extremely successful and made Mishima a celebrity at the age of 24. In 1947, a brief encounter with Osamu Dazai, a popular novelist known for his suicidal themes, left a lasting impression on him.[116] Around 1949, Mishima also published a literary essay about Kawabata, for whom he had always held a deep appreciation, in Modern Literature (近代文学, Kindai Bungaku).[117]

Mishima enjoyed international travel. In 1952, he took a world tour and published his travelogue as The Cup of Apollo (アポロの杯, Aporo no Sakazuki). He visited Greece during his travels, a place which had fascinated him since childhood. His visit to Greece became the basis for his 1954 novel The Sound of Waves, which drew inspiration from the Greek legend of Daphnis and Chloe. The Sound of Waves, set on the small island of "Kami-shima" where a traditional Japanese lifestyle continued to be practiced, depicts a pure, simple love between a fisherman and a female pearl and abalone diver. Although the novel became a best-seller, leftists criticized it for "glorifying old-fashioned Japanese values", and some people began calling Mishima a "fascist".[118][119][120] Looking back on these attacks in later years, Mishima wrote, "The ancient community ethics portrayed in this novel were attacked by progressives at the time, but no matter how much the Japanese people changed, these ancient ethics lurk in the bottom of their hearts. We have gradually seen this proven to be the case."[121]

Yukio Mishima (lower) with Shintaro Ishihara in 1956 (on the roof of the Bungeishunjū Building in Ginza 6-chome)

Mishima made use of contemporary events in many of his works. The Temple of the Golden Pavilion, published in 1956, is a fictionalization of the burning down of the Kinkaku-ji Buddhist temple in Kyoto in 1950 by a mentally disturbed monk.[122]

In 1959, Mishima published the artistically ambitious novel Kyōko no Ie. The novel tells the interconnected stories of four young men who represented four different facets of Mishima's personality. His athletic side appears as a boxer, his artistic side as a painter, his narcissistic, theatrical side as an actor, and his secretive, nihilistic side as a businessman who goes through the motions of living a normal life while practicing "absolute contempt for reality". According to Mishima, he was attempting to describe the time around 1955 in the novel, when Japan was entering into its era of high economic growth and the phrase "The postwar is over" was prevalent.[h] Mishima explained, "Kyōko no Ie is, so to speak, my research into the nihilism within me."[124][125] Although the novel was well received by a small number of critics from the same generation as Mishima and sold 150,000 copies in a month, it was widely panned in broader literary circles,[126][127] and was rapidly branded as Mishima's first "failed work".[128][127] It was Mishima's first major setback as an author, and the book's disastrous reception came as a harsh psychological blow.[129][130][131]

Until 1960, Mishima had not written works that were seen as especially political.[126] In the summer of 1960, Mishima became interested in the massive Anpo protests against an attempt by U.S.-backed Prime Minister Nobusuke Kishi to revise the Treaty of Mutual Cooperation and Security Between the United States and Japan (known as "Anpo" in Japanese) in order to cement the U.S.–Japan military alliance into place.[132] Although he did not directly participate in the protests, he often went out in the streets to observe the protestors in action and kept extensive newspaper clippings covering the protests.[133] In June 1960, at the climax of the protest movement, Mishima wrote a commentary in the Mainichi Shinbun newspaper, entitled "A Political Opinion".[134] In the critical essay, he argued that leftist groups such as the Zengakuren student federation, the Socialist Party, and the Communist Party were falsely wrapping themselves in the banner of "defending democracy" and using the protest movement to further their own ends.[135][136][137] Mishima warned against the dangers of the Japanese people following ideologues who told lies with honeyed words.[135][136] Although Mishima criticized Kishi as a "nihilist" who had subordinated himself to the United States, Mishima concluded that he would rather vote for a strong-willed realist "with neither dreams nor despair" than a mendacious but eloquent ideologue.[135][136]

Shortly after the Anpo Protests ended, Mishima began writing one of his most famous short stories, Patriotism, glorifying the actions of a young right-wing ultranationalist Japanese army officer who commits suicide after a failed revolt against the government during the February 26 incident.[134] The following year, he published the first two parts of his three-part play Tenth-Day Chrysanthemum (十日の菊, Tōka no kiku), which celebrates the actions of the 26 February revolutionaries.[134]

Mishima's newfound interest in contemporary politics shaped his novel After the Banquet, also published in 1960, which so closely followed the events surrounding politician Hachirō Arita's campaign to become governor of Tokyo that Mishima was sued for invasion of privacy.[138] The next year, Mishima published The Frolic of the Beasts, a parody of the classical Noh play Motomezuka, written in the 14th-century by playwright Kiyotsugu Kan'ami. In 1962, Mishima produced his most artistically avant-garde work Beautiful Star, which at times comes close to science fiction. Although the novel received mixed reviews from the literary world, prominent critic Takeo Okuno (奥野健男) singled it out for praise as part of a new breed of novels that was overthrowing longstanding literary conventions in the tumultuous aftermath of the Anpo Protests. Alongside Kōbō Abe's Woman of the Dunes, published that same year, Okuno considered A Beautiful Star an "epoch-making work" which broke free of literary taboos and preexisting notions of what literature should be in order to explore the author's personal creativity.[139]

In 1965, Mishima wrote the play Madame de Sade that explores the complex figure of the Marquis de Sade, traditionally upheld as an exemplar of vice, through a series of debates between six female characters, including the Marquis' wife, the Madame de Sade. At the end of the play, Mishima offers his own interpretation of what he considered to be one of the central mysteries of the de Sade story—the Madame de Sade's unstinting support for her husband while he was in prison and her sudden decision to renounce him upon his release.[140][141] Mishima's play was inspired in part by his friend Tatsuhiko Shibusawa's 1960 Japanese translation of the Marquis de Sade's novel Juliette and a 1964 biography Shibusawa wrote of de Sade.[142] Shibusawa's sexually explicit translation became the focus of a sensational obscenity trial remembered in Japan as the "Juliette Case" (サド裁判, Sado saiban), which was ongoing as Mishima wrote the play.[140] In 1994, Madame de Sade was evaluated as the "greatest drama in the history of postwar theater" by Japanese theater criticism magazine Theater Arts (シアター・アーツ).[143][144]

Mishima was considered for the Nobel Prize for Literature in 1963, 1964, 1965, 1967 and 1968 (he and Rudyard Kipling are both the youngest nominees in history),[145] and was a favorite of many foreign publications.[146] However, in 1968 his early mentor Kawabata won the Nobel Prize and Mishima realized that the chances of it being given to another Japanese author in the near future were slim.[147] In a work published in 1970, Mishima wrote that the writers he paid most attention to in modern western literature were Georges Bataille, Pierre Klossowski, and Witold Gombrowicz.[148]

### Acting and modelling

[edit]

Mishima poses for a photograph, 1961

Mishima was also an actor, and starred in Yasuzo Masumura's 1960 film, Afraid to Die, for which he also sang the theme song (lyrics by himself; music by Shichirō Fukazawa).[149][150] He performed in films like Patriotism or the Rite of Love and Death directed by himself, 1966, Black Lizard directed by Kinji Fukasaku, 1968 and Hitokiri directed by Hideo Gosha, 1969. Maki Isaka has discussed how his knowledge of performance and theatrical forms influenced short stories including Onnagata (女方, Onnagata).[151]

Mishima was featured as the photo model in the photographer Eikoh Hosoe's book Ba-ra-kei: Ordeal by Roses (薔薇刑, Bara-kei), as well as in Tamotsu Yatō's photobooks Young Samurai: Bodybuilders of Japan (体道～日本のボディビルダーたち, Taidō: Nihon no bodybuilder tachi) and Otoko: Photo Studies of the Young Japanese Male (男, Otoko). The American author Donald Richie gave an eyewitness account of seeing Mishima, dressed in a loincloth and armed with a sword, posing in the snow for one of Tamotsu Yatō's photoshoots.[152]

In the men's magazine Heibon Punch, to which Mishima had contributed various essays and criticisms, he won first place in the "Mr. Dandy" reader popularity poll in 1967 with 19,590 votes, beating second place Toshiro Mifune by 720 votes.[153] In the next reader popularity poll, "Mr. International", Mishima ranked second behind French President Charles de Gaulle.[153] At that time in the late 1960s, Mishima was the first celebrity to be described as a "superstar" (sūpāsutā) by the Japanese media.[154]

### Private life

[edit]

Mishima at age 30 in his garden, 1955

In 1955, Mishima took up weight training to overcome his weak constitution, and his strictly observed workout regimen of three sessions per week was not disrupted for the final 15 years of his life. In his 1968 essay Sun and Steel,[155] Mishima deplored the emphasis given by intellectuals to the mind over the body. He later became very skilled (5th Dan) at kendo (traditional Japanese swordsmanship), and became 2nd Dan in battōjutsu, and 1st Dan in karate. In 1956, he tried boxing for a short period of time. In the same year, he developed an interest in UFOs and became a member of the "Japan Flying Saucer Research Association" (日本空飛ぶ円盤研究会, Nihon soratobu enban kenkyukai).[156] In 1954, he fell in love with Sadako Toyoda (豊田貞子), who became the model for main characters in The Sunken Waterfall (沈める滝, Shizumeru taki) and The Seven Bridges (橋づくし, Hashi zukushi).[157] Mishima hoped to marry her, but they broke up in 1957.[158][159]

After briefly considering marriage with Michiko Shōda, who later married Crown Prince Akihito and became Empress Michiko,[160] Mishima married Yōko (瑤子; née Sugiyama), the daughter of the Japanese-style painter Yasushi Sugiyama, on 1 June 1958.[161] The couple had two children: a daughter named Noriko (紀子) (born 2 June 1959) and a son named Iichirō (威一郎) (born 2 May 1962).[162] Noriko eventually married the diplomat Koji Tomita.[163]

While working on his novel Forbidden Colors, Mishima visited gay bars in Japan.[164] Mishima's sexual orientation was an issue that bothered his wife, and she always denied his homosexuality after his death.[165] In 1998, the writer Jirō Fukushima (福島次郎) published an account of his relationship with Mishima in 1951, including fifteen letters (not love letters) from Mishima.[166] Mishima's children successfully sued Fukushima and the publisher for copyright violation over the use of Mishima's letters.[167][168][169] The publisher Bungeishunjū had argued that the contents of the letters were "practical correspondence" rather than copyrighted works. However, the ruling for the plaintiffs declared, "In addition to clerical content, these letters describe the Mishima's own feelings, his aspirations, and his views on life, in different words from those in his literary works."[170][i]

In February 1961, Mishima became embroiled in the aftermath of the Shimanaka incident. In 1960, the author Shichirō Fukazawa had published the satirical short story The Tale of an Elegant Dream (風流夢譚, Fūryū Mutan) in the mainstream magazine Chūō Kōron. It contained a dream sequence (in which the Emperor and Empress are beheaded by a guillotine) that led to outrage from right-wing ultra-nationalist groups, and numerous death threats against Fukazawa, any writers believed to have been associated with him, and Chūō Kōron magazine itself.[175] On 1 February 1961, Kazutaka Komori, a seventeen-year-old rightist, broke into the home of Hōji Shimanaka, the president of Chūō Kōron, killed his maid with a knife and severely wounded his wife.[176] In the aftermath, Fukazawa went into hiding, and dozens of writers and literary critics, including Mishima, were provided with round-the-clock police protection for several months;[177] Mishima was included because a rumor that Mishima had personally recommended The Tale of an Elegant Dream for publication became widespread, and even though he repeatedly denied the claim, he received hundreds of death threats.[177] In later years, Mishima harshly criticized Komori, arguing that those who harm women and children are neither patriots nor traditional right-wingers, and that an assassination attempt should be a one-on-one confrontation with the victim at the risk of the assassin's life.[178][179][180] Mishima also argued that it was the custom of traditional Japanese patriots (such as Otoya Yamaguchi) to immediately commit suicide after committing an assassination.[178][179][180]

In 1963, "The Harp of Joy Incident" (喜びの琴事件, Yorokobi no Koto Jiken) occurred within the theatrical troupe Bungakuza, to which Mishima belonged. He wrote a play titled The Harp of Joy (喜びの琴, Yorokobi no koto), but star actress Haruko Sugimura and other Communist Party-affiliated actors refused to perform because the protagonist held anti-communist views and mentioned criticism about a conspiracy of world communism in his lines.[181] As a result of this ideological conflict, Mishima quit Bungakuza and later formed the troupe Neo Littérature Théâtre (劇団NLT, Gekidan NLT) with playwrights and actors who had quit Bungakuza along with him, including Seiichi Yashio (矢代静一), Takeo Matsuura (松浦竹夫), and Nobuo Nakamura.[181][182] When Neo Littérature Théâtre experienced a schism in 1968, Mishima formed another troupe, the Roman Theatre (浪曼劇場, Rōman Gekijō), and worked with Matsuura and Nakamura again.[183][184][185]

During the 1964 Summer Olympics in Tokyo, Mishima interviewed various athletes every day and wrote articles as a newspaper correspondent.[186][187] He had eagerly anticipated the long-awaited return of the Olympics to Japan after the 1940 Tokyo Olympics were cancelled due to Japan's war in China. Mishima expressed his excitement in his report on the opening ceremonies: "It can be said that ever since Lafcadio Hearn called the Japanese "the Greeks of the Orient", the Olympics were destined to be hosted by Japan someday."[188]

Mishima hated Ryokichi Minobe, who was a socialist and the governor of Tokyo beginning in 1967.[189] Influential persons in the conservative Liberal Democratic Party (LDP), including Takeo Fukuda and Kiichi Aichi, had been Mishima's superiors during his time at the Ministry of the Treasury, and Prime Minister Eisaku Satō came to know Mishima because his wife, Hiroko, was a fan of Mishima's work. Based on these connections LDP officials solicited Mishima to run for the LDP as governor of Tokyo against Minobe, but Mishima had no intention of becoming a politician.[189]

Mishima was fond of manga and gekiga, especially the drawing style of Hiroshi Hirata, a mangaka best known for his samurai gekiga; the slapstick, absurdist comedy in Fujio Akatsuka's Mōretsu Atarō; and the imaginativeness of Shigeru Mizuki's GeGeGe no Kitarō.[190][191][192] Mishima especially loved reading the boxing manga Ashita no Joe in Weekly Shōnen Magazine every week.[193][j] Ultraman and Godzilla were his favorite kaiju fantasies, and he once compared himself to "Godzilla's egg" in 1955.[194][195][196] On the other hand, he disliked story manga with humanist or cosmopolitan themes, such as Osamu Tezuka's Phoenix.[190][191][192]

Mishima was a fan of science fiction, contending that "science fiction will be the first literature to completely overcome modern humanism".[197] He praised Arthur C. Clarke's Childhood's End in particular. While acknowledging "inexpressible unpleasant and uncomfortable feelings after reading it," he declared, "I'm not afraid to call it a masterpiece."[198]

Mishima traveled to Shimoda on the Izu Peninsula with his wife and children every summer from 1964 onwards.[199][200] In Shimoda, Mishima often enjoyed eating local seafood with his friend Henry Scott-Stokes.[200] Mishima never showed any hostility towards the US in front of foreign friends like Scott-Stokes, until Mishima heard that the name of the inn where Scott-Stokes was staying was Kurofune (lit. 'black ship'), at which point his voice suddenly became low and he said in a sullen manner, "Why? Why do you stay at a place with such a name?". Mishima liked ordinary American people after the war, and he and his wife had even visited Disneyland as newlyweds.[k] However, he clearly retained a strong sense of hostility toward the "black ships" of Commodore Matthew C. Perry, who forcibly opened Japan up to unequal international relations at the end of the Edo period, and had destroyed the peace of Edo, where vivid chōnin culture was flourishing.[200]

### Later life

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Mishima's nationalism grew towards the end of his life. In 1966, he published his short story Voices of the Fallen Heroes (英霊の聲, Eirei no koe),[202] in which he denounced Emperor Hirohito for renouncing his own divinity after World War II.[203] Mishima argued that the soldiers who had died in the February 26 incident and the Kamikaze had died for their "living god" Emperor, and that Hirohito's renunciation of his own divinity meant that all those deaths had been in vain.[203]

In February 1967, Mishima joined his fellow-authors Yasunari Kawabata, Kōbō Abe, and Jun Ishikawa in issuing a statement condemning China's Cultural Revolution for suppressing academic and artistic freedom.[204][205] However, only one Japanese newspaper carried the full text of their statement.[206]

In September 1967 Mishima and his wife visited India at the invitation of the Indian government. He traveled widely and met with Prime Minister Indira Gandhi and President Zakir Hussain.[207] He left extremely impressed by Indian culture, and what he felt was the Indian people's determination to resist Westernization and protect traditional ways.[208] Mishima feared that his fellow Japanese were too enamored of modernization and Western-style materialism to protect traditional Japanese culture.[207] On his way home from India, Mishima also stopped in Thailand and Laos; his experiences in the three nations became the basis for portions of his novel The Temple of Dawn, the third in his tetralogy The Sea of Fertility.[209]

In a series of critical essays in the late 1960s, Mishima exalted what he viewed as traditional Japanese values. In 1967, he published On Hagakure: The Samurai Ethic and Modern Japan (葉隠入門, Hagakure Nyūmon), an impassioned plea for a return to bushido, the putative "samurai code" of Japan's past.[210] Mishima praised the Hagakure, a treatise on warrior virtues authored by the samurai Yamamoto Tsunetomo during the Edo period that valorized the warrior's willingness to die, as being at the core of his literary production and "the source of his vitality as a writer".[211][212] Mishima concluded,

> What Hagakure is insisting is that even a merciless death, a futile death that bears neither flower nor fruit, has dignity as the death of a human being. If we value so highly the dignity of life, how can we not also value the dignity of death? No death may be called futile.[210]

In On the Defense of Culture (文化防衛論, Bunka bōei ron; 1968),[213] Mishima preached the centrality of the emperor to Japanese culture,[214] and argued that Japan's postwar era was a time of flashy but ultimately hollow prosperity (a "Shōwa Genroku"), lacking any truly transcendent literary or poetic talents comparable to the 18th century masters of the original Genroku era, such as the playwright Chikamatsu Monzaemon or the poet Matsuo Bashō.[215]

In 1968, Mishima wrote a play titled My Friend Hitler, in which he depicted the historical figures of Adolf Hitler, Gustav Krupp, Gregor Strasser, and Ernst Röhm as mouthpieces to express his own views on fascism and beauty.[126] Mishima explained that after writing the all-female play Madame de Sade, he wanted to write a counterpart play with an all-male cast.[216] Mishima wrote of My Friend Hitler, "You may read this tragedy as an allegory of the relationship between Ōkubo Toshimichi and Saigō Takamori" (two heroes of Japan's Meiji Restoration who initially worked together but later had a falling out).[217] Given the play's provocative title, Mishima was repeatedly asked if he intended to express admiration or support for Hitler.[218] Mishima wrote in a program note,

> To be honest, I feel a terrifying interest in Hitler, but if the question is whether I like or dislike him, I can only answer, I don't like him. Hitler was a political genius but was not a hero. He thoroughly lacked the refreshing, sunny quality indispensable to becoming a hero. Hitler is as gloomy as the twentieth century.[219]

That same year, he wrote Life for Sale, a humorous story about a man who, after failing to commit suicide, advertises his life for sale.[220] In a review of the English translation, the novelist Ian Thomson called it a "pulp noir" and a "sexy, camp delight", but also noted that, "beneath the hard-boiled dialogue and the gangster high jinks is a familiar indictment of consumerist Japan and a romantic yearning for the past."[221]

Like many other right-wingers, Mishima was extremely alarmed by the riots and revolutionary actions undertaken by radical "New Left" university students, who took over dozens of college campuses in Japan in 1968 and 1969.[222] On 25 February 1968, he and several other right-wingers met at the editorial offices of the recently founded minzoku-ha monthly magazine Controversy Journal (論争ジャーナル, Ronsō jaanaru), where they pricked their little fingers and signed a blood oath promising to die if necessary to prevent a left-wing revolution from occurring in Japan.[223][224][225][226] Mishima showed his sincerity by signing his birth name, Kimitake Hiraoka, in his own blood.[223][225][226]

On 13 May 1969, Mishima accepted an invitation to debate with members of the Tokyo University Zenkyōtō on the university's Komaba campus. This debate lasted for 2.5 hours, with both Mishima and the students treating each other amiably and with respect, despite Mishima's initial fears that the students might kill him on the spot for his right-wing views.[227][228][l] At this debate, Mishima told the students, "As long as you refer to the Emperor as 'Emperor,' I will gladly join forces with you," but in the end the ideological differences between Mishima and the students could not be overcome. Mishima ended by saying, "I believe in your passion. I believe in this alone. Even if I believe in nothing else of yours, I want you to know that I believe in this alone."[229][230][231][232] In an essay written after the debate Mishima said that "they could not escape established leftist thinking" and that "the discussion was inevitably at a stalemate."[230][231][232] In this essay, Mishima argued that the supposedly revolutionary Zenkyōtō were themselves "weakening the roots of the revolutionary ideal in Japan" by rejecting the idea of the "Emperor", which Mishima claimed was also "a revolutionary ideal deeply rooted in the consciousness of the Japanese people."[230][231][232] Mishima's friends interpreted this essay as him expressing his disappointment with the Zenkyōtō.[231][m]

Throughout this period, Mishima continued to work on his magnum opus, The Sea of Fertility tetralogy of novels, which began appearing in a monthly serialized format in September 1965.[233] The four completed novels were Spring Snow (1969), Runaway Horses (1969), The Temple of Dawn (1970), and The Decay of the Angel (published posthumously in 1971). Mishima aimed for a very long novel with a completely different raison d'être from Western chronicle novels of the 19th and 20th centuries; rather than telling the story of a single individual or family, Mishima boldly set his goal as interpreting the entire human world.[234] In The Decay of the Angel, four stories convey the transmigration of the human soul as the main character goes through a series of reincarnations.[234] Mishima hoped to express in literary terms something akin to pantheism.[235] The novelist Paul Theroux blurbed the first edition of the English translation of The Sea of Fertility as "the most complete vision we have of Japan in the twentieth century" and critic Charles Solomon wrote in 1990 that "the four novels remain one of the outstanding works of 20th-Century literature and a summary of the author's life and work".[236]

### Coup attempt and suicide

[edit]

From 12 April to 27 May 1967, Mishima underwent basic training with the Ground Self-Defense Force (GSDF).[237] Mishima had originally lobbied to train with the GSDF for six months, but was met with resistance from the Defense Agency.[237] Mishima's training period was finalized to 46 days, which required using some of his connections.[237] His participation in GSDF training was kept secret, both because the Defense Agency did not want to give the impression that anyone was receiving special treatment, and because Mishima wanted to experience "real" military life.[237][238] Accordingly, Mishima trained under his birth name, Kimitake Hiraoka, and most of his fellow soldiers did not recognize him.[237]

From June 1967, Mishima became a leading figure in a plan to create a 10,000-man "Japan National Guard" (祖国防衛隊, Sokoku Bōeitai) as a civilian complement to the Self-Defense Forces. He began leading groups of right-wing college students to undergo basic training with the GSDF in the hope of training 100 officers to lead the National Guard.[239][240][238]

Finding that his plan for a large-scale Japan National Guard with broad public and private support had failed to catch on,[241] Mishima formed the Tatenokai ("Shield Society"), a private militia composed primarily of right-wing college students, on 5 October 1968. Mishima accepted no outside money, and funded the activities of the Tatenokai using royalties from his writing.[242][243][244] The Tatenokai primarily focused on martial training and physical fitness, including traditional kendo sword-fighting and long-distance running.[245][246] Live-fire training was also conducted.[247] Mishima personally oversaw this training. Initial membership was around 50, and was drawn primarily from students from Waseda University and individuals affiliated with the Controversy Journal. The number of Tatenokai members was later increased to exactly 100.[248][239]

Mishima delivering his speech on the balcony

On 25 November 1970, Mishima and four members of the Tatenokai—Masakatsu Morita, Masahiro Ogawa (小川正洋), Masayoshi Koga (小賀正義), and Hiroyasu Koga—used a pretext to visit Kanetoshi Mashita (益田兼利), the commandant of Camp Ichigaya (防衛省市ヶ谷地区), a military base in central Tokyo and the headquarters of the Eastern Command of the Japan Self-Defense Forces.[165] Once inside, they barricaded the door to Mashita's office and tied him to his chair. Mishima wore a white hachimaki headband with a red hinomaru circle in the center bearing the kanji for "To be reborn seven times to serve the country" (七生報國, Shichishō hōkoku), a reference to the last words of Kusunoki Masasue, the younger brother of the 14th-century imperial loyalist samurai Kusunoki Masashige, as the two brothers died fighting to defend the emperor.[249]

Holding a prepared manifesto and a banner listing their demands, Mishima stepped out onto the balcony to address the soldiers gathered below. His speech was intended to inspire a coup d'état to restore direct rule to the emperor. He succeeded only in irritating the soldiers, and was heckled, with jeers and the noise of helicopters drowning out some parts of his speech. In his speech, Mishima rebuked the JSDF for their passive acceptance of a constitution that "denies (their) own existence" and shouted to rouse them, "Where has the spirit of the samurai gone?" In a final "written appeal" (檄, Geki) that Morita and Ogawa scattered copies of from the balcony, Mishima expressed his dissatisfaction with the half-baked nature of the JSDF: "It is self-evident that the United States would not be pleased with a true Japanese volunteer army protecting the land of Japan."[26][250][251]

After he finished reading his prepared speech in a few minutes' time, Mishima cried out "Long live the Emperor!" (天皇陛下万歳, Tenno-heika banzai) three times. He then retreated into the commandant's office and apologized to the commandant, saying, "We did it to return the JSDF to the Emperor. I had no choice but to do this."[252][253][254] Mishima then committed seppuku, a form of ritual suicide by disembowelment associated with the samurai. Morita had been assigned to serve as Mishima's second (kaishakunin), cutting off his head with a sword at the end of the rite to spare him unnecessary pain. However, Morita proved unable to complete his task, and after three failed attempts to sever Mishima's head, Hiroyasu Koga had to step in and complete the task.[252][253][254]

According to the testimony of the surviving coup members, originally all four Tatenokai members had planned to commit seppuku along with Mishima.[255] However, Mishima attempted to dissuade them and three of the members acquiesced to his wishes.[255] Only Morita persisted, saying, "I can't let Mr. Mishima die alone."[255] But Mishima knew that Morita had a girlfriend and still hoped he might live. Just before his seppuku, Mishima tried one more time to dissuade him, saying "Morita, you must live, not die."[255][256][n][o] Nevertheless, after Mishima's seppuku, Morita knelt and stabbed himself in the abdomen and Koga acted as kaishakunin again.[260] Another traditional element of the suicide ritual was the composition of death poems by the Tatenokai members prior to their entry into the headquarters.[261]

This coup attempt is called the "Mishima Incident" (三島事件, Mishima jiken) in Japan.[p]

Mishima had planned his suicide meticulously for at least a year, with no one outside a small group of hand-picked Tatenokai members knowing of his plans.[263][264] Mishima had made sure his affairs were in order and left money for the legal defense of the three surviving Tatenokai members involved in the incident.[264] Mishima had also arranged for a department store to send his two children Christmas gifts every year until they became adults,[265][266] and had asked a publisher to pay the long-term subscription fee for children's magazines in advance and deliver them every month.[267]

Much speculation has surrounded Mishima's suicide. One of Mishima's biographers, translator John Nathan, suggests that the coup attempt was only a pretext for the ritual suicide of which Mishima had long dreamed.[268] Mishima's friend Henry Scott-Stokes, another biographer, noted a meeting with Mishima in his diary entry for 3 September 1970 at which Mishima, with a dark expression on his face, said:

> Japan has lost its spiritual tradition, and instead has become infested with materialism. Japan is under the curse of a green snake now. The green snake is biting Japan's chest. There is no way to escape this curse.[269][270]

Scott-Stokes told Takao Tokuoka [ja] in 1990 that he took the "green snake" to mean the U.S. dollar.[271]

One researcher has speculated that Mishima chose 25 November for his coup attempt in order to set his period of bardo until his reincarnation, such that the 49th day after his death would coincide with his birthday, 14 January.[272] Mishima's remains were returned to his family the day after the incident, and were buried in the grave of the Hiraoka family at Tama Cemetery on what would have been his 46th birthday, 14 January 1971.[273]

## Legacy

[edit]

Mishima Yukio Literary Museum in Yamanakako, Yamanashi

Mishima has been recognized as one of the world's most important literary persons of the 20th century.[274] Mishima wrote 34 novels, approximately 50 plays and 25 books of short stories, more than 35 books of essays, plus a libretto and one film.[275]

Grave of Yukio Mishima in Tama Cemetery. The inscription reads, "Grave of Hiraoka family".

The annual Mishima Prize was established in 1998 by the literary publisher Shinchōsha to recognise groundbreaking Japanese literature. On 3 July 1999, the "Yukio Mishima Literary Museum" (三島由紀夫文学館, Mishima Yukio Bungaku-kan) opened in Yamanakako, Yamanashi Prefecture.[276]

The Mishima Incident helped inspire the formation of "New Right" (新右翼, shin uyoku) groups in Japan, such as the "Issuikai", founded by Tsutomu Abe (阿部勉), who was one of Tatenokai members and Mishima's follower. Compared to older pro-American, anti-communist groups such as Bin Akao's Greater Japan Patriotic Party, New Right groups such as the Issuikai tended to emphasize ethnic nationalism and anti-Americanism.[277]

A memorial service deathday for Mishima, called "Patriotism Memorial" (憂国忌, Yūkoku-ki), is held every year in Japan on 25 November by the "Yukio Mishima Study Group" (三島由紀夫研究会, Mishima Yukio Kenkyūkai), as well as former members of the "Japan Student Alliance" (日本学生同盟, Nihon Gakusei Dōmei).[278] A separate memorial service has also been held annually by former Tatenokai members from 1975 onwards, one year after Masahiro Ogawa, Masayoshi Koga, and Hiroyasu Koga were released on parole.[279]

A variety of cenotaphs and memorial stones have been erected in honor of Mishima's memory in various places around Japan. For example, stones have been erected at Hachiman Shrine in Kakogawa City, Hyōgo Prefecture, where his grandfather's permanent domicile was;[280] in front of the 2nd company corps at JGSDF Camp Takigahara;[281] and in one of Mishima's acquaintance's home garden.[282] There is also a "Monument of Honor Yukio Mishima & Masakatsu Morita" in front of the Rissho University Shonan High school in Shimane Prefecture.[283]

The Mishima Yukio Shrine was built in the suburb of Fujinomiya, Shizuoka Prefecture, on 9 January 1983.[284][285]

A 1985 biographical film by Paul Schrader titled Mishima: A Life in Four Chapters depicts his life and work, however it has not had a theatrical release inside Japan. A 2012 Japanese film titled 11:25 The Day He Chose His Own Fate examines Mishima's final day. The 1983 gay pornographic film Beautiful Mystery satirized homosexual undertones that were present during Mishima's career.[286][17]

In 2020, a documentary titled Mishima Yukio vs. Tokyo University Zenkyōtō: the Truth Revealed 50 Years Later (三島由紀夫vs東大全共闘〜50年目の真実〜, Mishima Yukio vs Todai Zenkyōtō〜50 nen me no Sinjitsu) was released, based on the debate between Mishima and members of the Tokyo University Zenkyōtō on 13 May 1969.

On 14 January 2025, commemorative events to mark the 100th anniversary of Mishima's birth was held at two halls in Tokyo, in which Eiko Muramatsu (村松英子), who was an actress of Mishima's troupe, and Tadanori Yokoo, an acquaintance of Mishima, talked at each venue about their memories of him.[287][288]

## Awards

[edit]

* Shincho Prize from Shinchosha Publishing, 1954, for The Sound of Waves
* Kishida Prize for Drama from Shinchosha Publishing, 1955 for Termites' Nest (白蟻の巣, Shiroari no Su)
* Yomiuri Prize from Yomiuri Newspaper Co., for best novel, 1956, The Temple of the Golden Pavilion[289]
* Shuukan Yomiuri Prize for Shingeki from Yomiuri Newspaper Co., 1958, for Rose and Pirate (薔薇と海賊, Bara to Kaizoku)
* Yomiuri Prize from Yomiuri Newspaper Co., for best drama, 1961, The Chrysanthemum on the Tenth (The Day After the Fair) (十日の菊, Tōka no kiku)
* One of six finalists for the Nobel Prize in Literature, 1963.[290]
* Mainichi Art Prize from Mainichi Shimbun, 1964, for Silk and Insight
* Art Festival Prize from the Ministry of Education, 1965, for Madame de Sade

## Major works

[edit]

Main article: Yukio Mishima bibliography

### Literature

[edit]

Japanese title  | English title  | Year (first appeared)  | English translator  | Year (English translation)  | ISBN

|
|
|
|
|

* 花ざかりの森
* Hanazakari no Mori
* (short story)

| "Forest in Full Bloom"  | 1941  | Andrew Rankin  | 2000  |

* サーカス
* Sākasu
* (short story)

| "The Circus"  | 1948  | Andrew Rankin  | 1999[291] |

* 盗賊
* Tōzoku

| Thieves | 1947–1948  |   |  |

* 假面の告白
* （仮面の告白
* Kamen no Kokuhaku

| Confessions of a Mask | 1949  | Meredith Weatherby | 1958  | 0-8112-0118-X

* 愛の渇き
* Ai no Kawaki

| Thirst for Love | 1950  | Alfred H. Marks | 1969  | 4-10-105003-1

* 純白の夜
* Junpaku no Yoru

| Pure White Nights | 1950  |   |  |

* 青の時代
* Ao no Jidai

| The Age of Blue | 1950  |   |  |

* 禁色
* Kinjiki

| Forbidden Colors | 1951–1953  | Alfred H. Marks  | 1968–1974  | 0-375-70516-3

* 真夏の死
* Manatsu no shi
* (short story)

| Death in Midsummer | 1952  | Edward G. Seidensticker | 1956  |

* 潮騒
* Shiosai

| The Sound of Waves | 1954  | Meredith Weatherby | 1956  | 0-679-75268-4

* 詩を書く少年
* Shi o Kaku Shōnen
* (short story)

| "The Boy Who Wrote Poetry"  | 1954  | Ian H. Levy (Hideo Levy)  | 1977[291] |

* 沈める滝
* Shizumeru Taki

| The Sunken Waterfall | 1955  |   |  |

* 金閣寺
* Kinkaku-ji

| The Temple of the Golden Pavilion | 1956  | Ivan Morris | 1959  | 0-679-75270-6

* 鹿鳴館
* Rokumeikan
* (play)

| Rokumeikan | 1956  | Hiroaki Sato  | 2002  | 0-231-12633-6

* 鏡子の家
* Kyōko no Ie

| Kyoko's House | 1959  |   |  |

* 宴のあと
* Utage no Ato

| After the Banquet | 1960  | Donald Keene | 1963  | 0-399-50486-9

* スタア
* "Sutā" (novella)

| Star (novella)  | 1960[292] | Sam Bett  | 2019  | 978-0-8112-2842-8

* 憂國（憂国）
* Yūkoku
* (short story)

| "Patriotism"  | 1961  | Geoffrey W. Sargent | 1966  | 0-8112-1312-9

* 黒蜥蜴
* Kuro Tokage
* (play)

| The Black Lizard | 1961  | Mark Oshima | 2007  | 1-929280-43-2

* 獣の戯れ
* Kemono no Tawamure

| The Frolic of the Beasts | 1961  | Andrew Clare  | 2018  | 978-0-525-43415-3

* 美しい星
* Utsukushii Hoshi

| Beautiful Star | 1962  | Stephen Dodd  | 2022[293][294] |

* 978-0-241-54556-0 (paperback)
* 978-0-141-99258-7 (ebook)

* 肉体の学校
* Nikutai no Gakkō

| The School of Flesh | 1963  |   |  |

* 午後の曳航
* Gogo no Eikō

| The Sailor Who Fell from Grace with the Sea | 1963  | John Nathan | 1965  | 0-679-75015-0

* 絹と明察
* Kinu to Meisatsu

| Silk and Insight | 1964  | Hiroaki Sato | 1998  | 0-7656-0299-7

* 三熊野詣
* Mikumano Mōde
* (short story)

| "Acts of Worship"  | 1965  | John Bester | 1995  | 0-87011-824-2

* 孔雀
* Kujaku
* (short story)

| "The Peacocks"  | 1965  | Andrew Rankin  | 1999  | 1-86092-029-2

* サド侯爵夫人
* Sado Kōshaku Fujin
* (play)

| Madame de Sade | 1965  | Donald Keene | 1967  | 1-86092-029-2

* 英霊の聲
* Eirei no Koe
* (short story)

| "Voices of the Fallen Heroes"  | 1966  | Paul McCarthy  | 2025  | 978-0-593-80435-3

* 朱雀家の滅亡
* Suzaku-ke no Metsubō
* (play)

| The Decline and Fall of The Suzaku | 1967  | Hiroaki Sato  | 2002  | 0-231-12633-6

* 命売ります
* Inochi Urimasu

| Life for Sale | 1968  | Stephen Dodd  | 2019  | 978-0-241-33314-3

* わが友ヒットラー
* Waga Tomo Hittorā
* (play)

| My Friend Hitler and Other Plays  | 1968  | Hiroaki Sato  | 2002  | 0-231-12633-6

* 癩王のテラス
* Raiō no Terasu
* (play)

| The Terrace of the Leper King [ja] | 1969  | Hiroaki Sato  | 2002  | 0-231-12633-6

* 豐饒の海
* （豊饒の海）
* Hōjō no Umi

| The Sea of Fertility tetralogy:  | 1965–1971  |   |  | 0-677-14960-3
I. 春の雪Haru no Yuki |  1\. Spring Snow | 1965–1967  | Michael Gallagher | 1972  | 0-394-44239-3
II. 奔馬Honba |  2\. Runaway Horses | 1967–1968  | Michael Gallagher | 1973  | 0-394-46618-7
III. 曉の寺Akatsuki no Tera |  3\. The Temple of Dawn | 1968–1970  | E. Dale Saunders and Cecilia S. Seigle | 1973  | 0-394-46614-4
IV. 天人五衰Tennin Gosui |  4\. The Decay of the Angel | 1970–1971  | Edward Seidensticker | 1974  | 0-394-46613-6

### Critical essays

[edit]

Japanese title  | English title  | Year (first appeared)  | English translation, year  | ISBN

|
|
|
|

* アポロの杯
* Aporo no Sakazuki

| The Cup of Apollo | 1952  |   |

* 不道徳教育講座
* Fudōtoku Kyōiku Kōza

| Lectures on Immoral Education | 1958–1959  |   |

* 私の遍歴時代
* Watashi no Henreki Jidai

| My Wandering Years | 1963  |   |

* 太陽と鐡
* （太陽と鉄）
* Taiyō to Tetsu

| Sun and Steel | 1965–1968  | John Bester | 4-7700-2903-9

* 葉隠入門
* Hagakure Nyūmon

| On Hagakure: The Samurai Ethic and Modern Japan | 1967  | Kathryn Sparling, 1977  | 0-465-09089-3

* 文化防衛論
* Bunka Bōei-ron

| On the Defense of Culture | 1968  |   |

* 革命哲学としての陽明学
* Kakumei tetsugaku toshiteno Yomegaku

* Wang Yangming Thought
* as Revolutionary Philosophy

| 1970  | Harris I. Martin, 1971[291] |

### Plays for classical Japanese theatre

[edit]

In addition to contemporary-style plays such as Madame de Sade, Mishima wrote for two of the three genres of classical Japanese theatre: Noh and Kabuki (as a proud Tokyoite, he would not even attend the Bunraku puppet theatre, always associated with Osaka and the provinces).[295]

Though Mishima took themes, titles and characters from the Noh canon, his twists and modern settings, such as hospitals and ballrooms, startled audiences accustomed to the long-settled originals.

Donald Keene translated Five Modern Noh Plays (Tuttle, 1981; ISBN 0-8048-1380-9). Most others remain untranslated and so lack an "official" English title; in such cases it is therefore preferable to use the rōmaji title.

Year (first appeared)  | Japanese title  | English title  | Genre

|
|
|

1950  |

* 邯鄲
* Kantan

| The Magic Pillow | Noh
1951  |

* 綾の鼓
* Aya no Tsuzumi

| The Damask Drum | Noh
1952  |

* 卒塔婆小町
* Sotoba Komachi

| Komachi at the Gravepost | Noh
1954  |

* 葵の上
* Aoi no Ue

| The Lady Aoi | Noh
1954  |

* 鰯賣戀曳網
* (鰯売恋曳網)
* Iwashi Uri Koi Hikiami

| The Sardine Seller's Net of Love | Kabuki
1955  |

* 班女
* Hanjo

| The Waiting Lady with the Fan | Noh
1955  |

* 芙蓉露大内実記
* Fuyō no Tsuyu Ōuchi Jikki

* The Blush on the White Hibiscus Blossom:
* Lady Fuyo and the True Account of the Ōuchi Clan

| Kabuki
1957  |

* 道成寺
* Dōjōji

| Dōjōji Temple | Noh
1959  |

* 熊野
* Yuya

| Yuya | Noh
1960  |

* 弱法師
* Yoroboshi

| The Blind Young Man | Noh
1969  |

* 椿説弓張月
* Chinsetsu Yumiharizuki

* A Wonder Tale: The Moonbow or Half Moon (like a Bow and arrow setting up):
* The Adventures of Tametomo

| Kabuki

### Films

[edit]

Mishima starred in multiple films. Patriotism was written and funded by himself, and he directed it in close cooperation with Masaki Domoto. Mishima also wrote a detailed account of the whole process, in which the particulars regarding costume, shooting expenses and the film's reception are delved into. Patriotism won the second prize at the Tours International Short Film Festival in January 1966.[296][297]

Year  | Title  | United States release title(s)  | Character  | Director

|
|
|
|

1951  |

* 純白の夜
* Jumpaku no Yoru

| Unreleased in the U.S.  | an extra (dance party scene)  | Hideo Ōba
1959  |

* 不道徳教育講座
* Fudōtoku Kyōikukōza

| Unreleased in the U.S.  | himself as navigator  | Katsumi Nishikawa
1960  |

* からっ風野郎
* Karakkaze Yarō

| Afraid to Die |

* Takeo Asahina
* (main character)

| Yasuzo Masumura
1966  |

* 憂国
* Yūkoku

* The Rite of Love and Death
* Patriotism

* Shinji Takeyama
* (main character)

* Yukio Mishima,
* Domoto Masaki (sub)

1968  |

* 黒蜥蜴
* Kurotokage

| Black Lizard | Human Statue  | Kinji Fukasaku
1969  |

* 人斬り
* Hitokiri

| Tenchu! | Tanaka Shinbei | Hideo Gosha

## Works about Mishima

[edit]

### Collections of Photographs

[edit]

* Ba-ra-kei: Ordeal by Roses (薔薇刑) by Eikō Hosoe and Mishima (photoerotic collection of images of Mishima, with his own commentary, 1963) (Aperture 2002 ISBN 0-89381-169-6)[298][299]
* Grafica: Yukio Mishima (Grafica Mishima Yukio (グラフィカ三島由紀夫)) by Kōichi Saitō, Kishin Shinoyama, Takeyoshi Tanuma, Ken Domon, Masahisa Fukase, Eikō Hosoe, Ryūji Miyamoto etc. (photoerotic collection of Yukio Mishima) (Shinchosha 1990 ISBN 978-4-10-310202-1)[300]
* Yukio Mishima's house (Mishima Yukio no Ie (三島由紀夫の家)) by Kishin Shinoyama (Bijutsu Shuppansha 1995 ISBN 978-4-568-12055-4)[301]
* The Death of a Man (Otoko no shi (男の死)) by Kishin Shinoyama and Mishima (photo collection of death images of Japanese men including a sailor, a construction worker, a fisherman, and a soldier, those were Mishima did modeling in 1970) (Rizzoli 2020 ISBN 978-0-8478-6869-8)[302]

### Books

[edit]

* Reflections on the Death Of Mishima by Henry Miller (1972, ISBN 0-912264-38-1)[303]
* The Day He Himself Shall Wipe My Tears Away (Mizukara waga namida wo nuguitamau hi (みずから我が涙をぬぐいたまう日)) by Kenzaburō Ōe (Kodansha, 1972, NCID BN04777478) – In addition to this, Kenzaburō Ōe wrote several works that mention the Mishima incident and Mishima a little.[304]
* The Head of Yukio Mishima (Mishima Yukio no Kubi (三島由紀夫の首)) by Tetsuji Takechi (Toshi shuppann, 1972, NCID BN05185496) - A mysterious tale of Mishima's head flying over the Kantō region and arguing with the head of Taira no Masakado.[305]
* Mishima: A Biography by John Nathan (Boston, Little, Brown and Company 1974, ISBN 0-316-59844-5)[306][307]
* Scott-Stokes, Henry (1974). The Life and Death of Yukio Mishima. New York: Farrar, Straus and Giroux. NCID BA10429419.
* La mort volontaire au Japon, by Maurice Pinguet (Gallimard, 1984 ISBN 2070701891)[308][309]
* Der Magnolienkaiser: Nachdenken über Yukio Mishima by Hans Eppendorfer (1984, ISBN 3924040087)[310]
* Teito Monogatari (vol. 5–10) by Hiroshi Aramata (a historical fantasy novel. Mishima appears in series No.5, and he reincarnates a woman Michiyo Ohsawa in series No.6), (Kadokawa Shoten 1985 ISBN 4-04-169005-6)[311][312]
* Yukio Mishima by Peter Wolfe ("reviews Mishima's life and times, discusses, his major works, and looks at important themes in his novels", 1989, ISBN 0-8264-0443-X)[313]
* Escape from the Wasteland: Romanticism and Realism in the Fiction of Mishima Yukio and Oe Kenzaburo (Harvard-Yenching Institute Monograph Series, No 33) by Susan J. Napier (Harvard University Press, 1991 ISBN 0-674-26180-1)[314]
* Deadly Dialectics: Sex, Violence, and Nihilism in the World of Yukio Mishima by Roy Starrs (University of Hawaii Press, 1994, ISBN 0-8248-1630-7 and ISBN 0-8248-1630-7)[315]
* Rogue Messiahs: Tales of Self-Proclaimed Saviors by Colin Wilson (Mishima profiled in context of phenomenon of various "outsider" Messiah types), (Hampton Roads Publishing Company 2000 ISBN 1-57174-175-5)
* Mishima ou la vision du vide (Mishima : A Vision of the Void), essay by Marguerite Yourcenar trans. by Alberto Manguel 2001 ISBN 0-226-96532-5)[316][317]
* Yukio Mishima, Terror and Postmodern Japan by Richard Appignanesi (2002, ISBN 1-84046-371-6)
* Yukio Mishima's Report to the Emperor by Richard Appignanesi (2003, ISBN 978-0-9540476-6-5)
* Keene, Donald (2003). Five Modern Japanese Novelists. New York: Columbia University Press. ISBN 0-231-12610-7.
* The Madness and Perversion of Yukio Mishima by Jerry S. Piven. (Westport, Connecticut, Praeger Publishers, 2004 ISBN 0-275-97985-7)[318]
* Mishima's Sword – Travels in Search of a Samurai Legend by Christopher Ross (2006, ISBN 0-00-713508-4)[319]
* Mishima Reincarnation (Mishima tensei (三島転生)) by Akitomo Ozawa (小沢章友) (Popurasha, 2007, ISBN 978-4-591-09590-4) – A story in which the spirit of Mishima, who died at the Ichigaya chutonchi, floating and looks back on his life.[320]
* Biografia Ilustrada de Mishima by Mario Bellatin (Argentina, Editorian Entropia, 2009, ISBN 978-987-24797-6-3)
* Impossible (Fukano (不可能)) by Hisaki Matsuura (Kodansha, 2011, ISBN 978-4-06-217028-4) – A novel that assumed that Mishima has been survived the Mishima Incident.[321]
* Persona: A Biography of Yukio Mishima by Naoki Inose with Hiroaki Sato (Berkeley, California, Stone Bridge Press, 2012, ISBN 978-1-61172-008-2)[322]
* Yukio Mishima (Critical Lives) by Damian Flanagan (Reaktion Books, 2014, ISBN 978-1-78023-345-1)[323]
* Portrait of the Author as a Historian by Alexander Lee – an analysis of the central political and social threads in Mishima's novels (pages 54–55 "History Today" April 2017)
* Mishima, Aesthetic Terrorist: An Intellectual Portrait by Andrew Rankin (University of Hawaii Press, 2018, ISBN 0-8248-7374-2)[324]

### Film, TV

[edit]

* Mishima: A Life in Four Chapters (1985), a film directed by Paul Schrader[325]
* The Strange Case of Yukio Mishima (1985) BBC documentary directed by Michael Macintyre
* Yukio Mishima: Samurai Writer, a BBC documentary on Yukio Mishima, directed by Michael Macintyre, (1985, VHS ISBN 978-1-4213-6981-5, DVD ISBN 978-1-4213-6982-2)
* Miyabi: Yukio Mishima  (みやび 三島由紀夫) (2005), a documentary film directed by Chiyoko Tanaka[326]
* 11:25 The Day He Chose His Own Fate (2012), a film directed by Kōji Wakamatsu[327]
* Mishima Yukio vs. Zenkyōtō of Tokyo University: the Truth revealed in the 50th year (三島由紀夫vs東大全共闘〜50年目の真実〜) (2020), a documentary film directed by Keisuke Toyoshima (豊島圭介)[328]

### Music

[edit]

* Harakiri, by Péter Eötvös (1973). An opera music composed based on the Japanese translation of István Bálint's poetry Harakiri that inspired by Mishima's hara-kiri. This work is included in Ryoko Aoki (青木涼子)'s album Noh x Contemporary Music (能×現代音楽) in June 2014.[329]
* String Quartet No.3, "Mishima", by Philip Glass. A reworking of parts of his soundtrack for the film Mishima: A Life in Four Chapters, it has a duration of 18 minutes.
* "Death and Night and Blood (Yukio)", a song by the Stranglers from the Black and White album (1978). (Death and Night and Blood is the phrase from Mishima's novel Confessions of a Mask)[330]
* Sonatas for Yukio – C.P.E. Bach: Harpsichord Sonatas, by Jocelyne Cuiller (2011).[329] A program composed of Bach sonatas for each scene of the novel "Spring Snow".

### Songs

[edit]

* Patriotism (憂国, Yūkoku) lyrics by Yoshio Kodama, composition by Masao Koga, singing by Hisao Itō (伊藤久男) (1971)[331]
* Curry rice (カレーライス, Karē raisu) lyrics/composition and singing by Kenji Endo (遠藤賢司) (1971)[332]
* "Forbidden Colours", a song on Merry Christmas, Mr. Lawrence soundtrack by Ryuichi Sakamoto with lyrics by David Sylvian (1983). Inspired by Mishima's novel Forbidden Colors.[333]

### Theatre

[edit]

* Yukio Mishima, a play by Adam Darius and Kazimir Kolesnik, first performed at Holloway Prison, London, in 1991, and later in Finland, Slovenia and Portugal.
* M, a ballet spectacle work homage to Mishima by Maurice Béjart in 1993[334]

### Manga, Games

[edit]

* Yuuyake Banchō Volume 15 "Both literary and martial arts" (文武両道, bunbu ryōdō) written by Ikki Kajiwara and Illustrated by Toshio Shōji (荘司としお) (1971)[335]
* Shin Megami Tensei by Atlus (1992) – A character Gotou who started a coup in Ichigaya, modeled on Mishima.
* Tekken by Namco (1994) – Mishima surname comes from Yukio Mishima, and a main character, Kazuya Mishima, had his way of thinking based on Mishima.
* Ghost in the Shell: Stand Alone Complex 2nd GIG (攻殻機動隊 S.A.C. 2nd GIG, Kokaku Kidōtai S.A.C. 2nd GIG) (2004, Production I.G)[336]
* Jakomo Fosukari (Jakomo Fosukari (ジャコモ・フォスカリ)) by Mari Yamazaki (2012) – The characters modeled on Mishima and Kōbō Abe appears in.[337][329]
* Persona 5 (2016) - A character named after Mishima, named Yuki Mishima, appears. He works to support the main characters from the sidelines and eventually resolves to write a documentary about them.[338]

### Poetry

[edit]

* Harakiri, by István Bálint.[329]
* 3 Tanka poems, Grave of Mishima (ユキオ・ミシマの墓, Mishima Yukio no haka) written by Pierre Pascal (1970)[339]
* and 12 Haiku poems. Appendix of Shinsho Hanayama (花山信勝)'s book Discovering Peace: A Record of Life and Death in Sugamo (平和の発見―巣鴨の生と死の記録, Heiwa no Hakken: Sugamo no Sei to Shi no Kiroku) translated into French.[340]
* The Ritual of Love and Death (Patriotism) (愛と死の儀式（憂国）, Ai to Shi no gishiki (Yūkoku)) written by Emmanuel Rothen (1970)[341][342]
* Lamentation: Yukio Mishima (哭三島由紀夫, Koku Mishima Yukio) written by Akira Asano (浅野晃) (1971)[343][344]
* described at the conclusion of the eulogy "Rainbow Gate".[344]
* Yūkoku-ki (憂国忌) written by Shūji Terayama (1971)[344]
* Harakiri (ハラキリ) written by Hiromi Itō (1986)[332]
* It was noon (正午だった, Shogo datta) & Haiku written by Genki Fujii (2007)[345]
* Reading at the 38th "Patriotism Memorial" (憂国忌, Yūkoku-ki), 37th Anniversary of His Death.[345]

### Art

[edit]

* Kou (Kou (恒)) by Junji Wakebe (分部順治) (1976) – Life-sized male bronze sculpture modeled on Mishima. The work was requested by Mishima in the fall of 1970, he went to Wakebe's atelier every Sunday. It was exhibited at the 6th Niccho Exhibition on 7 April 1976.[346] In his will, Mishima wrote that he wanted his divided bones buried in a location with a view of Mount Fuji and the ocean, and that he wanted this bronze statue to be placed there concurrently, but as of 2017, this request had not yet been fulfilled.[347]
* Season of fiery fire / Requiem for someone: Number 1, Mishima (Rekka no kisetsu/Nanimonoka eno rekuiemu: Sono ichi Mishima (烈火の季節／なにものかへのレクイエム・その壱 ミシマ)) and Classroom of beauty, listen quietly: bi-class, be quiet (Bi no kyositsu, seicho seyo (美の教室、清聴せよ)) by Yasumasa Morimura (2006, 2007) – Disguise performance as Mishima[348][329][349]
* Objectglass 12 and The Death of a Man (Otoko no shi (男の死)) by Kimiski Ishizuka (石塚公昭) (2007, 2011) – Mishima dolls[350][329]

## See also

[edit]

* Hachinoki kai – a chat circle to which Mishima belonged.
* Japan Business Federation attack – an incident in 1977 involving four persons (including one former Tatenokai member) connected by the Mishima incident.
* Kosaburo Eto – Mishima states that he was impressed with the seriousness of Eto's self-immolation, "the most intense criticism of politics as a dream or art."[351]
* Kumo no kai – a literary movement group presided over by Kunio Kishida in 1950–1954, to which Mishima belonged.
* Manjirō Hiraoka – Mishima's grand-uncle. Sadatarō Hiraoka's older brother. He was a lawyer and politician.
* Mishima Yukio Prize – a literary award established in September 1987.
* Phaedo – the book Mishima had been reading in his later years.
* Suegen – a traditional authentic Japanese style restaurant in Shinbashi that is known as the last dining place for Mishima and four Tatenokai members (Masakatsu Morita, Hiroyasu Koga, Masahiro Ogawa, Masayoshi Koga).

## Notes

[edit]

1. ^ Pronunciations: UK: /ˈmɪʃɪmə/, US: /-mɑː, ˈmiːʃimɑː, mɪˈʃiːmə/,[3][4][5][6] Japanese: [miɕima].
2. ^ Yoritaka's eldest son was Matsudaira Yorinori who died at the age of 33 when he was ordered to commit seppuku by the shogunate during the Tengutō Rebellion, because he was sympathetic to Tengu-tō (天狗党)'s Sonnō jōi.[34]
3. ^ Mishima had told about his bloodline that; "I'm a descendant of the peasants and samurais, and my way of working is like a most hard-working peasant."[38]
4. ^ 輔仁 (Hojin) is an East Asian name composed of two characters which individually mean "assistance" and "benevolence".
5. ^ At the end of this debut work, a limpid "tranquility" is drawn, and it is often pointed out by some literature researchers that it has something in common with the ending of Mishima's posthumous work The Sea of Fertility.[51][52]
6. ^ Kuniko Mitani, the sister of Makoto Mitani (三谷信), would become the model for "Sonoko" in Confessions of a Mask. Mishima wrote about his loss in a letter to his acquaintance, lamenting that "I wouldn't have lived if I didn't write about her."[92]
7. ^ In the occupation of Japan, SCAP executed "sword hunt", and 3 million swords which had been owned by the Japanese people were confiscated. Further Kendo was banned, and even when barely allowed in the form of "bamboo sword competition", SCAP severely banned kendo shouts,[102] and, they banned Kabuki which had the revenge theme, or inspired the samurai spirit.[103]
8. ^ In 1956, the Japanese government had issued an economic white paper that famously declared, "The postwar is now over" (Mohaya sengo de wa nai).[123]
9. ^ As for the evaluation of Fukushima's book, it is attracting attention as material for learning about Mishima's friendships when writing Forbidden Colors; however, there were criticisms that this book was confused readers, because it was written the real names of all characters like a nonfiction, at the same time, Fukushima specified "a novel about Mr. Yukio Mishima", "this work", "this novel" in the introduction and epilogue[171] or it was advertised as "an autobiographical novel", so the publisher didn't have the confidence to say that everything was true; the only valuable accounts in this book were Mishima's letters.[172] Also there were vitriolic criticisms that these contents of book was insignificant compared to its exaggerated advertising, or it was pointed out that there were contradictions and unnatural adaptations like a made-up story in the neighborhood of gay bars.[172] Gō Itasaka (板坂剛), who thinks Mishima was homosexual, said about this book as below, "Fukusima's petty touch only described a petty Mishima, Mishima was sometimes vulgar, but was never a narrow-minded man. The complex which Mishima himself kept holding like a poison in his own (is like available for use at any time), was not always an aversion for him."[173] Jakucho Setouchi and Akihiro Miwa said about this book and Fukusima as below, "It's the worst way for a man or a woman to write bad words about someone you once liked, and Fukusima is ingrateful, because he had been taken care of in various ways when he was poor, by Mishima and his parents."[174]
10. ^ On one occasion, when Mishima missed the new issue of Weekly Shōnen Magazine on its release day because he had been shooting the movie Black Lizard, at midnight he suddenly appeared in the magazine's editorial department and demanded, "I want you to sell to me the Weekly Shōnen Magazine just released today."[193]
11. ^ After that, Disneyland became Mishima's favorite. And, in the New Year of 1970, the year he was determined to die, he had wanted the whole family with children to revisit the fantasy theme park. But the dream didn't come true because of his wife's objection that she wanted to do it after the completion of The Sea of Fertility.[201]
12. ^ A record of this debate was published in June 1969 by Shinchōsha under the title Debate: Yukio Mishima vs. Tokyo University Zenkyōtō - Beauty, Community, and the Tokyo University Struggle (討論 三島由紀夫vs.東大全共闘―美と共同体と東大闘争, Tōron: Mishima Yukio vs. Tokyo University Zenkyōtō - bi to kyōdōtai to Todai ronsō).
13. ^ Journalist Masayasu Hosaka (保阪正康) argues that the reason "Mishima was disappointed" after this debate was because the Zenkyōtō "was ultimately unwilling to defend their political slogans even at the risk of their own lives" and because of their "worldly speech and self-indulgent behavior", and that Mishima saw through their "limitations".[231]
14. ^ This is the survived member Masayoshi Koga (小賀正義)'s testimony.[256]
15. ^ Morita had a girlfriend named Yumiko Shibata (柴田由美子).[257][258] Her first grandchild was named "Masakatsu".[259][258]
16. ^ Immediately after the incident, Yasunari Kawabata rushed to the Ichigaya camp, but was unable to enter the commandant's room during on-the-spot investigation.[262] (Kawabata insisted that reports claiming "Kawabata was admitted to the bloody death scene" were false.[262])

## References

[edit]

1. ^ Matsumoto 1990, p. 12
2. ^ Stokes-e 2000, p. 3
3. ^ "Mishima". Collins English Dictionary. HarperCollins. Archived from the original on 1 June 2019. Retrieved 1 June 2019.
4. ^ "Mishima, Yukio". Lexico Dictionaries. Archived from the original on 28 September 2020. Retrieved 8 January 2020. (US) and "Mishima, Yukio". Oxford Dictionaries UK English Dictionary. Oxford University Press. Archived from the original on 1 June 2019.
5. ^ "Mishima". The American Heritage Dictionary of the English Language (5th ed.). HarperCollins. Retrieved 1 June 2019.
6. ^ "Mishima". Merriam-Webster.com Dictionary. Merriam-Webster. Retrieved 1 June 2019.
7. ^ Fairbrother, Zac. "Violence, Masculinity, and Fascism in 1960s Japan". University of Sheffield. Retrieved 6 November 2024.
8. ^ Buruma, Ian (12 April 1987). "A New Japanese Nationalism". The New York Times. Retrieved 7 November 2024.
9. ^ "ND on Film: Patriotism". 6 February 2014. Retrieved 7 November 2024.
10. ^ Nathan, John (23 May 2019). "'Night and Blood and Death'". The New York Review of Books. 66 (9). Retrieved 7 November 2024.
11. ^ McCarthy, Paul (5 May 2013). "Revealing the many masks of Mishima" (mostly paywalled). The Japan Times. Retrieved 8 January 2020.
12. ^ Rankin, Andrew (2018). Mishima, Aesthetic Terrorist: An Intellectual Portrait. University of Hawaii Press. p. 119.
13. ^ Belsky, Beryl (18 October 2012). "Yukio Mishima: The Turbulent Life Of A Conflicted Martyr". Culture Trip.
14. ^ "Yukio Mishima – 'The Lost Samurai'". Japan Today. 12 January 2014.
15. ^ Flanagan, Damian (21 November 2015). "Yukio Mishima's enduring, unexpected influence". The Japan Times.
16. ^ a b Shabecoff, Philip (2 August 1970). "Everyone in Japan Has Heard of Him". The New York Times.
17. ^ a b Walker, Gavin (25 November 2020). "The Political Afterlives of Yukio Mishima, Japan's Most Controversial Intellectual And Global Icon of The Far Right". Jacobin. Retrieved 23 June 2022.
18. ^ Commentary on Mishima's ideology:
* Attanasio, Paul (15 October 1985). "'Mishima' Impossible". Washington Post. Retrieved 26 April 2023.
* Dickey, Colin (June 2004). "Metaphysics, Protest, and the Politics of Spectacular Failure". Journal of Aesthetics and Protest. No. 3. Direct article link
* Jones, Nigel (25 November 2020). "A fanatic heart". The Critic Magazine.
* Mishan, Ligaya (9 September 2009). "I Don't Think They Heard Me". The New Yorker. Condé Nast.
* Schambelan, Elizabeth (2018). "In the Fascist Weight Room". Book Forum. No. Summer 2018. Retrieved 26 April 2023.
* Shiota, Julia (9 March 2020). "When the Emperor Is a Void: Yukio Mishima and Fascism Today". Asian American Writers' Workshop.
* S. R. (23 January 2019). "Yukio Mishima". Japan Experience.
* Hijiya-Kirschnereit, Irmela (2009). "4. 'The Terrible Weapon of the Gravely Injured' – Mishima Yukio's Literature and the War". In Podoler, Guy (ed.). War and Militarism in Modern Japan. Folkstone: BRILL; Global Oriental. pp. 53–62\. doi:10.1163/ej.9781905246854.i-242.40. ISBN 978-90-04-21300-5. "In the context of post-war literary and intellectual history, Mishima Yukio tends to be seen as a romantic nihilist and ultra reactionary, a prolific but ultimately predictable writer whose spectacular seppuku accentuated his artistic career. On the other hand, even though his philosophical agenda, as he developed it in a series of essays, seems readily accessible for critical evaluation, his fictional creations do not necessarily conform to this image."
19. ^ Ando 1998, pp. 338–339
20. ^ a b c Muramatsu 1990, pp. 474–480, 503, 508
21. ^ Toda 1978, pp. 91–105, 169–172
22. ^ O-Encyclo 1976, pp. 246–247
23. ^ Suzuki 2005, pp. 72–80
24. ^ Ando 1998, pp. 259–261
25. ^ Encyclo 2000, pp. 210–211, 519–520, 523–524
26. ^ a b Mishima's An appeal (檄, Geki) (last Manifesto) on 25 November 1970 was collected in Complete36 2003, pp. 402–406
27. ^ a b Encyclo 2000, pp. 604–606
28. ^ a b c Yamamoto 2001, pp. 32–43
29. ^ Ando 1998, pp. 7–8
30. ^ Azusa 1996, pp. 31–47
31. ^ Inose-e 2012
32. ^ Matsumoto 1990, pp. 16–17, 52
33. ^ Liukkonen, Petri. "Yukio Mishima". Books and Writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 10 October 2004.
34. ^ a b c d Etsugu 1983, pp. 71–140
35. ^ Family tree of the Matsudaira family in Etsugu 1983, pp. 137–140, 234–235
36. ^ 水戸支流松平氏（宍戸藩・御連枝） － Reichsarchiv ～世界帝王事典～. reichsarchiv.jp. 28 May 2010.
37. ^ Inose-j 1999, pp. 25–111
38. ^ Mishima, Yukio (10 March 1966). フランスのテレビに初主演―文壇の若大将三島由紀夫氏 [First starring on French television: Yukio Mishima, the Wakadaishō (whizz kid) of the literary world]. Mainichi Shimbun (in Japanese). collected in Complete34 2003, pp. 31–34
39. ^ a b "Mishima, Yukio (1925–1970)". Archived from the original on 21 February 2015.
40. ^ "Yukio Mishima (January 14, 1925 – November 25, 1970". Archived from the original on 21 November 2008.
41. ^ Hiraoka, Shizue (December 1976). 暴流のごとく―三島由紀夫七回忌に [Like as Turbulent water runs: On the sixth anniversary of Yukio Mishima's death]. Shinchō (in Japanese). Shinchosha., collected in Gunzo18 1990, pp. 193–204
42. ^ Azusa 1996, pp. 45–47
43. ^ Ando 1996, p. 18
44. ^ Complete42 2005, pp. 17–18
45. ^ a b Azusa 1996, pp. 62–64, 84–86
46. ^ a b Okuno 2000, pp. 136–138
47. ^ Mishima, Yukio (11 April 1963). 私の遍歴時代 14 [My Wandering Years - Chapter 14]. Tokyo Shimbun (in Japanese) (Evening paper ed.)., collected in Complete32 2003, pp. 305–307
48. ^ Ando 1998, p. 38
49. ^
* "Guide to Yamanakako Forest Park of Literature (Mishima Yukio Literary Museum)". Retrieved 20 October 2009.
* 三島由紀夫の年譜. Retrieved 20 October 2009.
50. ^ Complete42 2005, pp. 377–462
51. ^ Okuno 2000, pp. 421–450
52. ^ Encyclo 2000, pp. 335–345
53. ^ a b c Shimizu, Fumio (January 1975). 「花ざかりの森」をめぐって [Over the Hanazakari no Mori]. Appendix of "Yukio Mishima Complete Works No.1" (in Japanese). Shinchosha. collected in N-Reader 1990, pp. 22–24
54. ^ Mishima, Yukio (June 1958). 「花ざかりの森」出版のころ [When I published "Forest in Full Bloom"]. Gunzo (in Japanese). Kodansha., collected in Complete30 2003, pp. 285–286
55. ^ Azusa 1996, p. 87
56. ^ Hasuda, Zenmei (September 1941). 編集後記 [Editor's note]. Bungei Bunka (Nihonbungaku No Kai) (in Japanese). collected in Jurō 2005, p. 116
57. ^ Inose-e 2012, pp. 86
58. ^ Inose-e 2012, pp. 88
59. ^ Muramatsu 1990, pp. 488–492
60. ^ Ando 1996, p. 59
61. ^ Mishima, Yukio (March 1970). 序 [Introduction]. "Zenmei Hasuda and His Death" Written by Jirō Odakane (in Japanese). collected in Complete36 2003, pp. 60–63
62. ^ Mishima, Yukio (22 September 1960). 惟神之道 [The way of the Gods]. Private Note (in Japanese). collected in Complete26 2003, pp. 88–90
63. ^ Encyclo 2000, pp. 185–187, 222–223
64. ^ a b Mitani 1999, pp. 14–15
65. ^ a b Mishima, Yukio (March 1957). 学習院の卒業式 [The graduation ceremony of Gakushūin]. Style (in Japanese)., collected in Complete29 2003, p. 499
66. ^ Complete42 2005, p. 95
67. ^ Album 1983, p. 18
68. ^ See for example, Tatsumi Okabe, "Revival of Japanese Militarism?" The Institute of South East Asian Studies Occasional Papers No. 22 (July 1974), p. 11.
69. ^ a b Mishima, Yukio (January 1957). わが思春期 [My Puberty]. Myōjō (in Japanese). Shueisha. collected in Complete29 2003, pp. 373–375
70. ^ a b c Azusa 1996, pp. 69–72
71. ^ a b c Matsumoto 1990, p. 47
72. ^ a b Stokes 1974, pp. 105–106. sfn error: no target: CITEREFStokes1974 (help)
73. ^ Mishima, Yukio (1958). Confessions of a Mask. Translated by Weatherby, Meredith. New Directions. p. 138\. ISBN 0-8112-0118-X. `{{cite book}}`: ISBN / Date incompatibility (help)
74. ^ a b Lifton, Robert Jay; Kat, Shichi; Reich, Michael R. (1979). Six Lives, Six Deaths: Portraits from Modern Japan. Yale University Press. p. 247\. ISBN 0-300-02266-2.
75. ^ a b Scott-Stokes 1974, pp. 105–106.
76. ^ photograph of the will in Album 1983, p. 21
77. ^ a b Mitani 1999, pp. 88–94
78. ^ Ando 1996, p. 77
79. ^ a b Hirano 2023, pp. 61–64
80. ^ Mishima's letter to Makoto Mitani (April 21, 1945) Complete38 2004, pp. 917–918
81. ^ Mishima's letters to his friends (Makoto Mitani, Akira Kanzaki) and teacher Fumio Shimizu in August 1945, collected in Complete38 2004, pp. 604, 921–922,
82. ^ Mitani 1999, pp. 112–131
83. ^ Ando 1996, p. 82
84. ^ Mishima, Yukio (16 September 1945). 戦後語録 [Postwar Diary]. Private Note (in Japanese). collected in Complete26 2003, pp. 560–562
85. ^ Ando 1996, p. 83, Ando 1998, p. 103
86. ^ Okuno 2000, p. 197
87. ^ a b c d Jurō 2005, pp. 99–156
88. ^ Azusa 1996, pp. 78–80
89. ^ Yuasa 1984, pp. 111–112
90. ^ a b Muramatsu 1990, pp. 91–97
91. ^ Ando 1996, p. 85
92. ^ Mishima's letter to Chikayoshi Ninagawa in 1949, Ando 1996, p. 120, Inose-j 1999, p. 262
93. ^ Mishima, Yukio (August 1955). 終末感からの出発―昭和二十年の自画像 [A departure from feelings of ending: a self-portrait in 1945]. Shinchō (in Japanese)., collected in Complete28 2003, pp. 516–518
94. ^ Ando 1996, pp. 85–86
95. ^ Ando 1998, pp. 103–104
96. ^ Azusa 1996, pp. 64–68
97. ^ Azusa 1996, pp. 83–84
98. ^ Complete38 2004, pp. 200–202
99. ^ Jurō 2005, p. 127
100. ^ a b Etsugu 1983, pp. 91–97
101. ^ a b Nosaka 1991, pp. 5–76
102. ^ Mishima, Yukio (19 January 1970). 「変革の思想」とは―道理の実現 [What is "Idea of Reform": Realization of Reason]. Yomiuri Shimbun (in Japanese). collected in Complete36 2003, pp. 30–38
103. ^ Mishima, Yukio (1970). 武士道と軍国主義 [Bushido and Militarism]. Weekly Playboy 1978 August Issue (Posthumous publication) (in Japanese). collected in Complete36 2003, pp. 247–266
104. ^ Kapur 2018, pp. 181–182.
105. ^ Complete38 2004, pp. 200–202, 313–318
106. ^ Kimura 1995, pp. 247–267
107. ^ Honda1 2005, pp. 70–88
108. ^ Matsumoto 1990, p. 56
109. ^ Mishima, Yukio (7 February 1963). 私の遍歴時代 5 [My Wandering Years - Chapter 5]. Tokyo Shimbun (in Japanese) (Evening paper ed.)., collected in Complete32 2003, pp. 281–284
110. ^ Matsumoto 1990, p. 57
111. ^ Mishima, Yukio (14 February 1963). 私の遍歴時代 6 [My Wandering Years - Chapter 6]. Tokyo Shimbun (in Japanese) (Evening paper ed.)., collected in Complete32 2003, pp. 284–286
112. ^ a b Encyclo 2000, pp. 230–231
113. ^ Honda2 2005, pp. 101–103
114. ^ Kawabata, Yasunari (1948). 少年 [Boy]. Human (in Japanese). collected in Kawabata10 1980, pp. 141–256
115. ^ Itagaki 2016, pp. 27–44
116. ^ Stokes-e 2000, pp. 89–90
117. ^ Encyclo 2000, pp. 476–479, 484–485
118. ^ Sugimoto, Kazuhiro (1990). 『潮騒』：「歌島」の物語 ["Shiosai": The Story of "Utajima"]. Journal of College of International Studies, Chubu University (in Japanese). 6: 355–364.
119. ^ Encyclo 2000, p. 153
120. ^ Mishima, Yukio (October 1954). 新ファッシズム論 [New theory about fascism]. Bungakukai (in Japanese). collected in Complete28 2003, pp. 350–359
121. ^ Mishima, Yukio (July 1965). 「潮騒」執筆のころ [Around the time of writing "The Sound of Waves"]. Ushio (in Japanese). collected in Complete33 2003, pp. 478–480
122. ^ Encyclo 2000, pp. 92–97
123. ^ Kapur 2018, p. 217.
124. ^ Mishima, Yukio (August 1959). 「鏡子の家」そこで私が書いたもの [Kyōko no Ie, What I wrote in there]. Advertising Leaflet (in Japanese). collected in Complete31 2003, p. 242
125. ^ Mishima, Yukio (29 June 1959). 日記―裸体と衣裳 「昭和34年6月29日（月）」 [Diary: Naked body and Apparel]. Shinchō (in Japanese). collected in Complete30 2003, pp. 236–240
126. ^ a b c Kapur 2018, pp. 251–252.
127. ^ a b Inose-j 1999, pp. 346–347
128. ^ Muramatsu 1990, pp. 279–282
129. ^ Mishima's letter to Yasunari Kawabata on 18 December 1959, collected in Complete38 2004, pp. 291–292
130. ^ Mishima, Yukio (1968). ファシストか革命家か [Fascist or Revolutionist]. Eiga Geijutsu (in Japanese). collected in Complete39 2004, pp. 729–760 (dialogue with Nagisa Ōshima)
131. ^ Ando 1998, pp. 205–207
132. ^ Kapur 2018, p. 250.
133. ^ Kapur 2018, pp. 250–251.
134. ^ a b c Kapur 2018, p. 251.
135. ^ a b c Mishima, Yukio (25 June 1960). 一つの政治的意見 [A Political Opinion]. Mainichi Shimbun (in Japanese). collected in Complete31 2003, pp. 433–436
136. ^ a b c Encyclo 2000, p. 305
137. ^ Tekina 2015, pp. 20–22
138. ^ Cooper-Chen, Anne; Kodama, Miiko (1997). Mass communication in Japan. Wiley-Blackwell. p. 187\. ISBN 978-0-8138-2710-0. Retrieved 22 September 2010.
139. ^ Kapur 2018, p. 213.
140. ^ a b Inose-e 2012, pp. 454
141. ^ Mishima, Yukio (November 1965). 跋 [The Epilogue]. Appendix of Madame de Sade (in Japanese). Kawade Shobō Shinsha. collected in Complete33 2003, pp. 585–586
142. ^ Inose-e 2012, pp. 453–454
143. ^ Encyclo 2000, p. 149
144. ^ Taiyo 2010, pp. 104–105
145. ^ "Nomination Database: Yukio Mishima". Nobel prize. Retrieved 12 May 2016.
146. ^ Flanagan, Damian (29 August 2015). "Mishima, Murakami and the elusive Nobel Prize". Japan Times. Retrieved 12 May 2016.
147. ^ McCarthy, Paul (5 May 2013). "Revealing the many masks of Mishima". Japan Times. Retrieved 12 May 2016.
148. ^ Mishima, Yukio; Bataille, Georges (1995). My Mother/Madame Edwarda/The Dead Man. London: Marion Boyars. pp. 4, 11. ISBN 0-7145-3004-2.
149. ^ Encyclo 2000, pp. 457–458
150. ^ Reseach2 2006, pp. 139–151
151. ^ Isaka, Maki (2023). "Mishima Yukio's "Onnagata" as a Shingeki Theatre-Fiction: "Amalgamation" of the Theatrical and the Literary in a Kabuki-World Tale". In Wolfe, Graham (ed.). The Routledge Companion to Theatre-Fiction. Routledge. pp. 103–115\. ISBN 9781032069906.
152. ^ Richie, Donald (2005). The Japan journals: 1947–2004. Berkeley, Calif.: Stone Bridge. pp. 148–149\. ISBN 978-0-89346-984-9. OCLC 773692477.
153. ^ a b Shiine 2012, pp. 27–33
154. ^ Shiine 2012, p. 104
155. ^ "Inside The Soviet KGB's Secret War On Western Books". RadioFreeEurope RadioLiberty. 21 April 2019. Retrieved 29 April 2019.
156. ^ Side 2014, pp. 71–74
157. ^ Iwashita 2008, pp. 44–53, 148–155, 161–169, Iwashita 2016, pp. 54–57, 216–219
158. ^ Yuasa 1984, pp. 120–122
159. ^ Iwashita 2016, pp. 240–241, 247–249
160. ^ Sheridan, Michael (27 March 2005). "Briton let author commit hara kiri". The Sunday Times. ISSN 0956-1382. Retrieved 8 January 2020.
161. ^ Matsumoto 1990, pp. 122–123
162. ^ Matsumoto 1990, pp. 131–132, 149
163. ^ "Japan to tap South Korea envoy Koji Tomita as U.S. ambassador". Kyodo News. 7 December 2020. Retrieved 25 May 2021.
164. ^ Scott-Stokes 1974, p. 130.
165. ^ a b Kakutani, Michiko (15 September 1985). "Mishima: Film Examines an Affair with Death". The New York Times. Retrieved 8 January 2020.
166. ^ Itasaka 1998, pp. 229–231
167. ^ Complete42 2005, pp. 365, 367
168. ^ Itasaka 1998, pp. 232–235
169. ^ Sato, Hiroaki (29 December 2008). "Suppressing more than free speech". The View from New York. Retrieved 6 October 2014.
170. ^ 判決文・三島由紀夫の手紙無断使用事件(２) [The judgment sentence: The case of unauthorized copying of Mishima's letters]. Japan Uni Copyright Center (in Japanese). Retrieved 23 August 2020.
171. ^ Fukushima 1998, pp. 7, 273
172. ^ a b Itasaka 1998, pp. 235–239
173. ^ Itasaka 1998, pp. 240–243
174. ^ Setouchi 2003, pp. 161–163
175. ^ Kapur 2018, pp. 255–259.
176. ^ Kapur 2018, p. 257.
177. ^ a b Kapur 2018, p. 259.
178. ^ a b Mishima, Yukio (16 June 1968). 国家革新の原理―学生とのティーチ・イン その一 [Principle of national innovation] (Speech). Teach in with students (No.1) (in Japanese). Hitotsubashi University Japanese Culture Study Group. collected in Complete40 2004, pp. 204–208, 216–218
179. ^ a b Komatsu 1991, p. 375
180. ^ a b Reli 1972, pp. 54–55
181. ^ a b Muramatsu 1990, pp. 361–368
182. ^ Encyclo 2000, pp. 462–463
183. ^ Encyclo 2000, pp. 462–463, 626
184. ^ Testi 2011, pp. 125–158
185. ^ Side 2014, pp. 85–89
186. ^ Complete42 2005, pp. 267–268
187. ^ Tokyo Olympics reports are collected in Complete33 2003, pp. 171–196
188. ^ Mishima, Yukio (11 October 1964). 東洋と西洋を結ぶ火―開会式 [The Fire connecting the East and the West: Opening ceremony]. Mainichi Shimbun (in Japanese). collected in Complete33 2003, pp. 171–174
189. ^ a b Side 2014, pp. 152–155
190. ^ a b Mishima, Yukio (1 February 1970). 劇画における若者論 [Theory of Youth in Gekiga]. Sunday Mainichi (in Japanese). collected in Complete36 2003, pp. 53–56
191. ^ a b Mishima, Yukio (5 March 1956). わが漫画 [My manga]. Manga Yomiuri (in Japanese). collected in Complete29 2003, pp. 166–169
192. ^ a b Encyclo 2000, pp. 603–604
193. ^ a b Ōno, Shigeru (2009). サンデーとマガジン 創刊と死闘の15年 [The Sunday and Magazine: 15 years of Start and Struggles] (in Japanese). Kobunsha. ISBN 978-4-334-03503-7.
194. ^ Mishima, Yukio (July 1955). 作家の日記 [Writer's Diary]. Shōsetsu Shinchō (in Japanese). collected in Complete28 2003, pp. 501–503
195. ^ Mishima, Yukio (December 1955). ゴジラの卵―余技・余暇 [Godzilla's egg: Hobby/Leisure]. Chūōkōron (in Japanese). collected in Complete28 2003, p. 667
196. ^ Yukito 2014, pp. 40–41
197. ^ Mishima, Yukio (September 1963). 一S・Fファンのわがままな希望 [Selfish hope of one SF fan]. Uchūjin (in Japanese). collected in Complete32 2003, pp. 582–583
198. ^ Mishima, Yukio (March 1970). 小説とは何か 十 [What is the existence of Novels - No.10]. Nami (in Japanese). collected in Complete34 2003, pp. 732–737
199. ^ Matsumoto 1990, p. 158
200. ^ a b c Scott-Stokes 2012, pp. 168–170
201. ^ Kawashima 1996, p. 234
202. ^ Mishima, Yukio (June 1966). 二・二六事件と私 ["February 26 Incident" and Me]. Appendix of Voices of the Fallen Heroes (in Japanese). Kawade Shobō Shinsha. collected in Heroic 2005, pp. 243–261 harvnb error: no target: CITEREFHeroic2005 (help),Complete34 2003, pp. 107–119
203. ^ a b Keene 2003, p. 54.
204. ^ Ge, She (2015). "China's Cultural Revolution and Japan's Intelligentsia: Kazumi Takahashi's Humanistic Sensibilities". Comparative Literature Studies. 52 (1): 72–73\. doi:10.5325/complitstudies.52.1.0065. S2CID 144471902.
205. ^ Complete42 2005, p. 288
206. ^ Nishi 2020, pp. 187–207
207. ^ a b Inose-e 2012, pp. 521–522
208. ^ Inose-e 2012, pp. 522–527
209. ^ Inose-e 2012, pp. 521
210. ^ a b Blomberg, Catharina (1995). The Heart of the Warrior: Origins and Religious Background of the Samurai System in Feudal Japan. Routledge. p. 193\. ISBN 978-1873410066.
211. ^ Keene 2003, p. 53.
212. ^ Must 1998, pp. 56–57
213. ^ Mishima, Yukio (July 1968). 文化防衛論 [On the Defense of Culture]. Chūō Kōron (in Japanese). collected in Complete35 2003, pp. 15–51
214. ^ Iida, Yumiko (2002). Rethinking Identity in Modern Japan: Nationalism as Aesthetics. Routledge. pp. 148–149\. ISBN 978-0415235211.
215. ^ Matsui, Midori (2002). "The Place of Marginal Positionality: Legacies of Japanese Anti-Modernity". In Lloyd, Fran (ed.). Consuming Bodies: Sex and Contemporary Japanese Art. Reaktion Books. p. 155\. ISBN 1-86189-147-4.
216. ^ Inose-e 2012, pp. 417, 581
217. ^ Mishima, Yukio (27 December 1968). 作品の背景―「わが友ヒットラー」 [Background of the work: My Friend Hitler]. Tokyo Shimbun (in Japanese). collected in Complete35 2003, pp. 319–320
218. ^ Inose-e 2012, p. 580
219. ^ Inose-e 2012, pp. 580–581
220. ^ Encyclo 2000, pp. 26–27
221. ^ Thomson, Ian (1 August 2019). "Life for Sale by Yukio Mishima – review". Evening Standard. Retrieved 26 November 2020.
222. ^ Nishi 2020, pp. 80–82
223. ^ a b Hiroshi Mochimaru, "The Tatenokai and the Controversy Journal" (Appendix of Complete32 2003)
224. ^ Complete42 2005, p. 295
225. ^ a b Inose-e 2012, pp. 540
226. ^ a b Azusa 1996, pp. 171–173
227. ^ Schieder, Chelsea Szendi (2021). Coed Revolution: The Female Student and the Japanese New Left. Duke University Press. pp. 110–115\. ISBN 978-1478011453.
228. ^ Scott-Stokes 1974, pp. 275–276.
229. ^ Debate: Yukio Mishima vs. Tokyo University Zenkyōtō - Beauty, Community, and the Tokyo University Struggle (討論 三島由紀夫vs.東大全共闘―美と共同体と東大闘争, Tōron: Mishima Yukio vs. Tokyo University Zenkyōtō - bi to kyōdōtai to Todai ronsō)(Shinchōsha, 1969) pp.9–119, Complete40 2004, pp. 442–506
230. ^ a b c Yukio Mishima Alogical eulogy for the desert dwellers: closing the debate (砂漠の住民への論理的弔辞――討論を終へて) (1969), collected in Debate: Yukio Mishima vs. Tokyo University Zenkyōtō - Beauty, Community, and the Tokyo University Struggle (討論 三島由紀夫vs.東大全共闘―美と共同体と東大闘争, Tōron: Mishima Yukio vs. Tokyo University Zenkyōtō - bi to kyōdōtai to Todai ronsō)(Shinchōsha, 1969) pp.124–143, Complete35 2003, pp. 474–489
231. ^ a b c d e Hosaka 2001, pp. 199–213
232. ^ a b c Encyclo 2000, pp. 513–514
233. ^ Flanagan, Damian (22 August 2015). "Descending to the depths of Yukio Mishima's Sea of Fertility". The Japan Times. Retrieved 19 July 2020.
234. ^ a b Mishima, Yukio (26 February 1969). 「豊饒の海」について [About The Sea of Fertility]. Mainichi Shimbun (in Japanese) (Evening paper ed.). collected in Complete35 2003, pp. 410–412
235. ^ Mishima, Yukio; Mitsuo, Nakamura (1968). 行動と作品の「根」 [The "Roots" of Actions and Works]. 対談・人間と文学 [Dialogue: Human being and Literatures] (in Japanese). Kodansha. NCID BN04404448. collected in Complete40 2004, pp. 169–175 (dialogue with Mitsuo Nakamura)
236. ^ Solomon, Charles (13 May 1990). "Spring Snow, Runaway Horses, The Temple of Dawn, The Decay of the Angel, by Yukio Mishima". Los Angeles Times. Retrieved 25 November 2020.
237. ^ a b c d e Inose-e 2012, pp. 486
238. ^ a b Muramatsu 1990, pp. 421–426
239. ^ a b Suzuki 2005, pp. 19–22, 70
240. ^ Mishima, Yukio (1967), 祖国防衛隊 綱領草案 [Draft for platform of the Japan National Guard] (in Japanese) collected in Complete36 2003, p. 665
241. ^ Flanagan, Damian (2014). Yukio Mishima. Reaktion Books. p. 208\. ISBN 978-1-78023-419-9.
242. ^ Inose-e 2012, pp. 540–541, 622
243. ^ Murakami 2010, pp. 41–45
244. ^ Hosaka 2001, pp. 218–223
245. ^ Jannarone, Kimberly (2015). Vanguard Performance Beyond Left and Right. Ann Arbor: University of Michigan Press. p. 95\. ISBN 978-0-472-11967-7.
246. ^ Murata 2015, pp. 74–76
247. ^ Murata 2015, pp. 87–88
248. ^ Flanagan, Damian (2014). Yukio Mishima. Reaktion Books. p. 207\. ISBN 978-1-78023-419-9.
249. ^ Inose-e 2012, p. 719
250. ^ Sugiyama 2007, pp. 204–206
251. ^ Hosaka 2001, pp. 18–25
252. ^ a b Date 1972, pp. 109–116
253. ^ a b Date 1972, pp. 117–122
254. ^ a b Nakamura 2015, pp. 200–229
255. ^ a b c d Ando 1998, pp. 309–310
256. ^ a b Mochi 2010, pp. 171–172
257. ^ Yumiko 2024, pp. 27–35
258. ^ a b Reseach24 2024, pp. 156–157
259. ^ Yumiko 2024, pp. 240–241
260. ^ "Japanese Stunned by Samurai-Style Suicide of Novelist Mishima". Chicago Tribune. 26 November 1970. p. 88\. Archived from the original on 29 February 2020 – via Newspapers.com.
261. ^ Keene, Donald (1988). The Pleasures of Japanese Literature. New York: Columbia University Press. p. 62\. ISBN 0-231-06736-4. OCLC 18068964.
262. ^ a b Kawabata, Yasunari (January 1971). 三島由紀夫 [Yukio Mishima]. Shincho Extra Edition Yukio Mishima Reader (in Japanese). collected in Gunzo18 1990, pp. 229–231
263. ^ Nakamura 2015, pp. 137–198
264. ^ a b Jurō 2005, pp. 157–184
265. ^ Kodama, Takaya (12 December 1970). 知られざる家庭人・三島由紀夫 [Unknown side of family man]. Josei Jishin (in Japanese).
266. ^ Mitsuo Fujita ”Commentary” (Appendix) Happy 2010, pp. 412–413
267. ^ Azusa 1996, pp. 153–154
268. ^ Ito 2006, p. 54
269. ^ Scott-Stokes 1985, pp. 25–27 harvnb error: no target: CITEREFScott-Stokes1985 (help)
270. ^ Ando 1998, pp. 295–296
271. ^ Tokuoka 1999, pp. 295–296
272. ^ Komuro 1985, pp. 229–230
273. ^ Azusa 1996, pp. 7–11
274. ^ Donald 2012, p. 204 harvnb error: no target: CITEREFDonald2012 (help)
275. ^ Complete42 2005, pp. 540–561
276. ^ Encyclo 2000, pp. 607–609
277. ^ Itasaka&Suzuki 2010, pp. 19–48
278. ^ Encyclo 2000, pp. 619–620
279. ^ Suzuki 2005, pp. 111–188
280. ^ Ando 1996, p. 428
281. ^ Yamamoto 1980, pp. 290–298
282. ^ Matsumoto 1990, p. 236
283. ^ Azusa 1996, pp. 206–232
284. ^ Matsumoto 1990, p. 244
285. ^ Ando 1996, p. 446
286. ^ "Beautiful Mystery – Legend of Big Horn". Time Out. 10 September 2012. Retrieved 23 June 2022.
287. ^ 三島由紀夫が生誕100年 宮本亜門さん、記念集会で「読むたび心震える」 [100th anniversary of Yukio Mishima's birth: Amon Miyamoto at commemorative event: "My heart trembles every time I read his works"]. Sankei Shimbun (in Japanese). 14 January 2025. Archived from the original on 3 February 2025. Retrieved 21 March 2025.
288. ^ 三島由紀夫生誕100年 横尾忠則さんが生前のエピソード語る [100th anniversary of Yukio Mishima's birth: Tadanori Yokoo talked about episodes from his life]. NHK News Web (in Japanese). 14 January 2025. Archived from the original on 14 January 2025. Retrieved 21 March 2025.
289. ^ 読売文学賞 [Yomiuri Prize for Literature]. Yomiuri Shimbun (in Japanese). Archived from the original on 4 April 2019. Retrieved 26 September 2018.
290. ^ "Candidates for the 1963 Nobel Prize in Literature". Nobel Prize. 2013. Retrieved 3 January 2014.
291. ^ a b c Encyclo 2000, pp. 695–729
292. ^ Gattig, Nicolas (27 April 2019). "Yukio Mishima's attempt at personal branding comes to light in the rediscovered 'Star'". The Japan Times. Retrieved 3 April 2020.
293. ^ Margolis, Eric. "The Resurgence of a Japanese Literary Master: Fifty Years after his Death, Yukio Mishima is Reemerging in Translation." Metropolis. 31 July 2020.
294. ^ "[1]"
295. ^ Keene, Donald (2008). Chronicles of My Life: An American in the Heart of Japan. New York: Columbia University Press. p. 104\. ISBN 978-0-231-14440-7. OCLC 173299185.
296. ^ Mishima, Yukio (April 1966). 「製作意図及び経過」（『憂國 映画版』） [The Production intention and Progress]. Film Patriotism (in Japanese). Shinchosha. collected in Complete34 2003, pp. 35–64
297. ^ Hiroaki Fujii (藤井浩明) The path that the film Patriotism has taken (映画『憂国』の歩んだ道) Complete-Se 2006 Appendix booklet
298. ^ Encyclo 2000, pp. 566–567
299. ^ Complete42 2005, p. 258
300. ^ Complete42 2005, p. 357
301. ^ Complete42 2005, p. 362
302. ^ Complete42 2005, p. 328
303. ^ Reflections on the death of Mishima (CiNii)
304. ^ みずから我が涙をぬぐいたまう日(CiNii)
305. ^ 三島由紀夫の首(CiNii)
306. ^ Complete-Su 2005, p. 709
307. ^ Ando 1996, pp. 466–470
308. ^ La mort volontaire au Japon (CiNii)
309. ^ Complete-Su 2005, p. 717
310. ^ Der Magnolienkaiser: Nachdenken über Yukio Mishima(CiNii)
311. ^ 帝都物語 (CiNii)
312. ^ 帝都物語 第伍番 (5) (角川文庫)(Da Vinci News)
313. ^ Yukio Mishima (CiNii)
314. ^ Escape from the wasteland: romanticism and realism in the fiction of Mishima Yukio and Oe Kenzaburo (CiNii)
315. ^ Deadly dialectics: sex, violence, and nihilism in the world of Yukio Mishima (CiNii)
316. ^ Mishima : a vision of the void (CiNii)
317. ^ Complete-Su 2005, p. 713
318. ^ The madness and perversion of Yukio Mishima (CiNii)
319. ^ Mishima's sword : travels in search of a samurai legend (CiNii)
320. ^ 三島転生(CiNii)
321. ^ 不可能(CiNii)
322. ^ Persona: a biography of Yukio Mishima (CiNii)
323. ^ Yukio Mishima (CiNii)
324. ^ Mishima, aesthetic terrorist : an intellectual portrait (CiNii)
325. ^ Complete42 2005, pp. 349–350
326. ^ みやび 三島由紀夫(movienet)
327. ^ "11・25自決の日 三島由紀夫と若者たち". Wakama Sujoki. Archived from the original on 26 April 2012. Retrieved 13 August 2021.
328. ^ Hadfield, James (26 March 2020). "'Mishima: The Last Debate': Careful revival of a battle of wits". The Japan Times. Retrieved 26 June 2020.
329. ^ a b c d e f Side 2014, pp. 168–170
330. ^ "GYAN GYAN". web-magazine: matsuzack.jougennotuki.com.
331. ^ 20 persons 2025, pp. 70–71
332. ^ a b Irmela 2010, pp. 141–143
333. ^ Sakamoto, Ryuichi (1991). Yamashita, Kunihiko (ed.). 坂本龍一・全仕事 [Ryuichi Sakamoto Complete Works] (in Japanese). Ohta Publishing. ISBN 978-4-87233-046-5.
334. ^ Complete42 2005, p. 360
335. ^ 三島由紀夫へ、劇画からの熱い「返礼」 [To Yukio Mishima, the passionate “returns” from Gekiga]. Yomiuri Shimbun (in Japanese). 12 November 2020. Archived from the original on 12 November 2020. Retrieved 8 December 2024.
336. ^ Eureka 2005, pp. 46–47
337. ^ はじめの1巻：「ジャコモ・フォスカリ」テルマエ・ロマエ作者が描く60年代の日本(Mantanweb)
338. ^ "【PS4新価格版 好評発売中！】P５ - ペルソナ５ - 公式サイト". P５ - ペルソナ５ - 公式サイト (in Japanese). Retrieved 15 March 2025.
339. ^ Takemoto 1998, pp. 117–118
340. ^ Takemoto 1998, pp. 94–95
341. ^ Date 1972, pp. 210–214
342. ^ Takemoto 1998, pp. 72–76
343. ^ Shincho1 1971, p. 192
344. ^ a b c Miyazaki 1999, pp. 257–260
345. ^ a b Nippon 2008, pp. 140–141
346. ^ Complete42 2005, p. 317,343
347. ^ Nishi 2017, pp. 292–297
348. ^ "森村泰昌 「美の教室－静聴せよ」展". Tokyo Art Beat.
349. ^ Irmela 2010, pp. 101–103
350. ^ "【会期延長】没後50年・三島由紀夫へのオマージュ展人形作家・写真家 石塚公昭「椿説 男の死」". 16 April 2020.
351. ^ Mishima, Yukio (May 1969). 若きサムラヒのために―政治について [Lectures for Young Samurai: About politics]. Pocket Punch Oh! (in Japanese). collected in Complete35 2003, pp. 58–60

## Sources

[edit]

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* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第27巻 評論2 [Definitive Edition - Yukio Mishima Complete Works No.27 - Criticisms 2] (in Japanese). Shinchosha. ISBN 978-4-10-642567-7.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第28巻 評論3 [Definitive Edition - Yukio Mishima Complete Works No.28 - Criticisms 3] (in Japanese). Shinchosha. ISBN 978-4-10-642568-4.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第29巻 評論4 [Definitive Edition - Yukio Mishima Complete Works No.29 - Criticisms 4] (in Japanese). Shinchosha. ISBN 978-4-10-642569-1.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第30巻 評論5 [Definitive Edition - Yukio Mishima Complete Works No.30 - Criticisms 5] (in Japanese). Shinchosha. ISBN 978-4-10-642570-7.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第31巻 評論6 [Definitive Edition - Yukio Mishima Complete Works No.31 - Criticisms 6] (in Japanese). Shinchosha. ISBN 978-4-10-642571-4.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第32巻 評論7 [Definitive Edition - Yukio Mishima Complete Works No.32 - Criticisms 7] (in Japanese). Shinchosha. ISBN 978-4-10-642572-1.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第33巻 評論8 [Definitive Edition - Yukio Mishima Complete Works No.33 - Criticisms 8] (in Japanese). Shinchosha. ISBN 978-4-10-642573-8.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第34巻 評論9 [Definitive Edition - Yukio Mishima Complete Works No.34 - Criticisms 9] (in Japanese). Shinchosha. ISBN 978-4-10-642574-5.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第35巻 評論10 [Definitive Edition - Yukio Mishima Complete Works No.35 - Criticisms 10] (in Japanese). Shinchosha. ISBN 978-4-10-642575-2.
* Mishima, Yukio (2003). 決定版 三島由紀夫全集 第36巻 評論11 [Definitive Edition - Yukio Mishima Complete Works No.36 - Criticisms 11] (in Japanese). Shinchosha. ISBN 978-4-10-642576-9.
* Mishima, Yukio (2004). 決定版 三島由紀夫全集 第37巻 詩歌 [Definitive Edition - Yukio Mishima Complete Works No.37 - Poetry] (in Japanese). Shinchosha. ISBN 978-4-10-642577-6.
* Mishima, Yukio (2004). 決定版 三島由紀夫全集 第38巻 書簡 [Definitive Edition - Yukio Mishima Complete Works No.38 - Letters] (in Japanese). Shinchosha. ISBN 978-4-10-642578-3.
* Mishima, Yukio (2004). 決定版 三島由紀夫全集 第39巻 対談1 [Definitive Edition - Yukio Mishima Complete Works No.39 - Dialogues 1] (in Japanese). Shinchosha. ISBN 978-4-10-642579-0.
* Mishima, Yukio (2004). 決定版 三島由紀夫全集 第40巻 対談2 [Definitive Edition - Yukio Mishima Complete Works No.40 - Dialogues 2] (in Japanese). Shinchosha. ISBN 978-4-10-642580-6.
* Mishima, Yukio (2004). 決定版 三島由紀夫全集 第41巻 音声(CD) [Definitive Edition - Yukio Mishima Complete Works No.41 - Voices (CD)] (in Japanese). Shinchosha. ISBN 978-4-10-642581-3.
* Satō, Hideaki; Inoue, Takashi; Yamanaka, Takeshi, eds. (2005). 決定版 三島由紀夫全集 第42巻 年譜・書誌 [Definitive Edition - Yukio Mishima Complete Works No.42 - Biographical Sketch and Bibliography] (in Japanese). Shinchosha. ISBN 978-4-10-642582-0.
* Mishima, Yukio (2005). 決定版 三島由紀夫全集 補巻 補遺・索引 [Definitive Edition - Yukio Mishima Complete Works Supplementary Volume - Addenda, Indexes] (in Japanese). Shinchosha. ISBN 978-4-10-642583-7.
* Mishima, Yukio (2006). 決定版 三島由紀夫全集 別巻 映画「憂国」(DVD) [Definitive Edition - Yukio Mishima Complete Works Separate Volume - Movie "Patriotism" (DVD)] (in Japanese). Shinchosha. ISBN 978-4-10-642584-4.
* Mishima, Yukio (2005) [1st pub. 1966]. 英霊の聲 オリジナル版 [Voices of the Fallen Heroes - Original Version]. Kawade Bunko (in Japanese) (Paperback ed.). Kawade Shobō Shinsha. ISBN 978-4-309-40771-5.
* Mishima, Yukio (2010) [1st pub. Shinchosha:1956]. 幸福号出帆 [The S.S. Happiness Sets Sail]. Kadokawa Bunko (in Japanese) (Paperback ed.). Kadokawa Shoten. ISBN 978-4-04-121216-5.
* 新文芸読本 三島由紀夫 [New Literary Reader: Yukio Mishima] (in Japanese). Kawade Shobō Shinsha. 1990. ISBN 978-4-309-70155-4.
* 近代作家追悼文集成〈42〉三島由紀夫 [Collection of Memorial Texts for Modern Writers 42: Yukio Mishima] (in Japanese). Yumani Shobo. 1999. ISBN 978-4-89714-645-4.
* Agata, Mitsunori; others (2025). 殉国の行動者 三島由紀夫 [Martyr to the Country: Yukio Mishima] (in Japanese). Asia Shimbunsha. ISBN 978-4-9911961-3-3.
* Akiyama, Shun; others (1990). 三島由紀夫 [Yukio Mishima]. Gunzo \- Japanese Authors 18 (in Japanese). Shogakukan. ISBN 978-4-09-567018-8.
* Andō, Takeshi (1996). 三島由紀夫「日録」 ["Daily Record" of Yukio Mishima] (in Japanese). Michitani. ISBN 978-4-915841-39-2.
* Andō, Takeshi (1998). 三島由紀夫の生涯 [The Life of Yukio Mishima] (in Japanese). Natsume Shobo. ISBN 978-4-931391-39-0.
* Date, Munekatsu (1972). 裁判記録「三島由紀夫事件」 [Judicial Record of the "Mishima Incident"] (in Japanese). Kodansha. NCID BN0140450X.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Etsugu, Tomoko (1983). 三島由紀夫 文学の軌跡 [Yukio Mishima: Trajectory of His Literature] (in ja ). Kōronsha. NCID BN00378721.`{{cite book}}`: CS1 maint: ref duplicates default (link) CS1 maint: unrecognized language (link)
* Fukushima, Jirō (1998). 三島由紀夫―剣と寒紅 [Yukio Mishima: Sword and Winter Red] (in Japanese). Bungeishunjū. ISBN 978-4-16-317630-7.`{{cite book}}`: CS1 maint: ref duplicates default (link) an out-of-print book for copyright violation
* Fukushima, Jurō (2005) [1st pub. Shinjinbutu Ōraisha:1975]. 再訂資料・三島由紀夫 [Re-Edition Document - Yukio Mishima] (in Japanese) (Enlarged ed.). Chobunsha. ISBN 978-4-88695-180-9.
* Hasegawa, Izumi; Takeda, Katsuhiko, eds. (1976). 三島由紀夫事典 [Encyclopedia of Yukio Mishima] (in Japanese). Meiji Shoin. ISBN 978-4-625-40025-4. NCID BN01686605.
* Hijiya-Kirschnereit, Irmela, ed. (2010). MISHIMA!―三島由紀夫の知的ルーツと国際的インパクト [MISHIMA!: The Intellectual Roots of Yukio Mishima and the International Impact] (in Japanese). Shōwado. ISBN 978-4-8122-1064-2.
* Hirano, Keiichiro (2023). 三島由紀夫論 [An Essay on Yukio Mishima] (in Japanese). Shinchosha. ISBN 978-4-10-426010-2.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Hiraoka, Azusa (1996) [1st pub. 1972]. 伜・三島由紀夫 [My Son - Yukio Mishima]. Bunshu Bunko (in Japanese) (Paperback ed.). Bungeishunjū. ISBN 978-4-16-716204-7.
* Honda, Shōgo (2005) [1st pub. Shinchosha:1960]. 物語 戦後文学史（上） [Story: Postwar Literary History]. Iwanami Gendai Bunko Literature 91 (in Japanese). Vol. 1\. Iwanami Shoten. ISBN 978-4-00-602091-0.
* Honda, Shōgo (2005) [1st pub. Shinchosha:1962]. 物語 戦後文学史（中） [Story: Postwar Literary History]. Iwanami Gendai Bunko Literature 92 (in Japanese). Vol. 2\. Iwanami Shoten. ISBN 978-4-00-602092-7.
* Hosaka, Masayasu (2001) [1st pub. Kodansha:1980]. 三島由紀夫と楯の会事件 [Yukio Mishima and the Tatenokai Incident]. Kadokawa Bunko (in Japanese) (Enlarged/Revised ed.). Kadokawa Shoten. ISBN 978-4-04-355602-1.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Inose, Naoki; Satō, Hiroaki (2012). Persona: A Biography of Yukio Mishima. Berkeley, California: Stone Bridge Press. ISBN 978-1-61172-008-2.
* Inose, Naoki (1999) [1st pub. 1995]. ペルソナ―三島由紀夫伝 [Persona: A Biography of Yukio Mishima]. Bunshun Bunko (in Japanese) (Paperback ed.). Bungeishunjū. ISBN 978-4-16-743109-9.
* Inoue, Takashi (2010). 三島由紀夫 幻の遺作を読む―もう一つの『豊饒の海』 [Reading a Never-before-published Phantom Posthumous Work of Yukio Mishima: Another "The Sea of Fertility"]. Kobunsha Shinsho (in Japanese). Kobunsha. ISBN 978-4-334-03594-5.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Isoda, Kōichi, ed. (1983). 新潮日本文学アルバム20 三島由紀夫 [Yukio Mishima]. Shincho Japanese literature Album No.20 (in Japanese). Shinchosha. ISBN 978-4-10-620620-7.
* Itagaki, Shin; Fukuda, Kiyoto (2016) [1st pub. 1969]. 川端康成―人と作品 [Yasunari Kawabata - The Man and His Works]. Century Books - Men and Works 20 (in Japanese) (New Binding ed.). Shimizu Shoin. ISBN 978-4-389-40109-2.
* Itasaka, Gō (1998). 真説・三島由紀夫―謎の原郷 [A True Theory on Yukio Mishima: Mysterious Urheimat] (in Japanese). Natsume Shobo. ISBN 978-4-931391-44-4.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Itasaka, Gō; Suzuki, Kunio (2010). 三島由紀夫と一九七〇年 [Yukio Mishima and 1970] (in Japanese). Rokusaisha. ISBN 978-4-8463-0772-1.
* Itō, Katsuhiko (2006). 最後のロマンティーク 三島由紀夫 [The Last Romantic: Yukio Mishima] (in Japanese). Shinyōsha. ISBN 978-4-7885-0981-8.
* Iwashita, Hisafumi (2008). 見出された恋 「金閣寺」への船出 [A Love Found: Sailing into "The Temple of the Golden Pavilion"] (in Japanese). Yūzankaku. ISBN 978-4-639-02024-0.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Iwashita, Hisafumi (2011). ヒタメン―三島由紀夫が女に逢う時… [The Face with No Mask: When Yukio Mishima Meet with His Woman…] (in Japanese). Yūzankaku. ISBN 978-4-639-02197-1.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Iwashita, Hisafumi (2016) [1st pub. Yūzankaku:2011]. 直面（ヒタメン）―三島由紀夫の若き日の恋 [The Face with No Mask (Hitamen): Yukio Mishima's Love in His Youth]. Bunshun Bunko (in Japanese) (Paperback ed.). Bungeishunjū. ISBN 978-4-16-790735-8.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Kapur, Nick (2018). Japan at the Crossroads: Conflict and Compromise after Anpo. Cambridge, Massachusetts: Harvard University Press. ISBN 978-0-674-98850-7. ISBN 978-0-674-98848-4.
* Kawabata, Yasunari (1980). 川端康成全集 第10巻 小説10 [Yasunari Kawabata Complete Works No.10 - Novels 10] (in Japanese). Shinchosha. ISBN 978-4-10-643810-3.
* Kawashima, Masaru (1996). 三島由紀夫 [Yukio Mishima] (in Japanese). Bungeishunjū. ISBN 978-4-16-351280-8.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Keene, Donald (2012) [1st pub. 1992]. 日本文学史―近代・現代篇（六） [History of Japanese Literature: Modern/Contemporary pieces No.6] (in Japanese). Translated by Tokuoka, Takao; Kakuchi, Yukio (Paperback ed.). Chuokoron-Shinsha. ISBN 978-4-12-205647-3.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Kimura, Tokuzō (1995). 文芸編集者の戦中戦後 [Wartime and Postwar of A Literary Editor] (in Japanese). Ōzorasha. ISBN 978-4-7568-0007-7.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Komatsu, Kazuo (1991). 日本ファシズムと「国家改造」論 [Japanese Fascism and the Theories of "National Reform"] (in Japanese). Sekai Shoin. NCID BN0625039X.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Komuro, Naoki (1985). 三島由紀夫が復活する [Yukio Mishima will be Resurrected] (in Japanese). Mainichi Communications. NCID BN10913162.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Matsumoto, Tōru (1990). 三島由紀夫 年表作家読本 [Yukio Mishima: Author's Chronological Reader] (in Japanese). Kawade Shobō Shinsha. ISBN 978-4-309-70052-6.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Matsumoto, Tōru; Satō, Hideaki; Inoue, Takashi, eds. (2000). 三島由紀夫事典 [Encyclopedia of Yukio Mishima] (in Japanese). Bensei Shuppan. ISBN 978-4-585-06018-5.
* Matsumoto, Tōru, ed. (2010). 別冊太陽 日本のこころ175―三島由紀夫 [Separate Volume Taiyo - Hearts of Japan 175: Yukio Mishima] (in Japanese). Heibonsha. ISBN 978-4-582-92175-5.
* Mitani, Makoto (1999) [1st pub. Kasama Shoin:1985 (an out-of-print book)]. 級友 三島由紀夫 [My Classmate: Yukio Mishima]. Chuko Bunko (in Japanese) (Reprinted ed.). Chuokoron-Shinsha. ISBN 978-4-12-203557-7.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Miyazaki, Masahiro (1999). 三島由紀夫「以後」―日本が日本でなくなる日 ["After" Yukio Mishima: The Day When Japan is No Longer Japan] (in Japanese). Namiki Shobo. ISBN 978-4-89063-112-4.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Miyoshi, Yukio, ed. (1989). 三島由紀夫必携 [Yukio Mishima Must-Have] (in Japanese). Gakutōsha. ISBN 978-4-312-00522-9.
* Mochimaru, Hiroshi; Satō, Matsuo (2010). 証言 三島由紀夫・福田恆存 たった一度の対決 [Testimonies: The Only Once Confrontation between Yukio Mishima and Tsuneari Fukuda] (in Japanese). Bungeishunjū. ISBN 978-4-16-373250-3.
* Morita, Masakatsu (2002) [1st pub. 1971]. わが思想と行動―遺稿集 [My Thoughts and Actions: His Posthumous Manuscripts] (in Japanese) (New Format ed.). Nisshin Hōdō. ISBN 978-4-8174-0528-9.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Murakami, Takeo (2010). 君たちには分からない―「楯の會」で見た三島由紀夫 [You Guys don't Understand: Yukio Mishima that I Saw in "Tatenokai"] (in Japanese). Shinchosha. ISBN 978-4-10-327851-1.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Muramatsu, Takeshi (1990). 三島由紀夫の世界 [The World of Yukio Mishima] (in Japanese). Shinchosha. ISBN 978-4-10-321402-1.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Murata, Haruki (2015). 三島由紀夫が生きた時代―楯の会と森田必勝 [The Period when Yukio Mishima was Alive: The Tatenokai and Masakatsu Morita] (in Japanese). Seirindo. ISBN 978-4-7926-0532-2.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Nagawa, Yumiko (2023). 手記 三島由紀夫様 私は森田必勝の恋人でした [Notes: To Mr. Yukio Mishima, I was Masakatsu Morita's Girlfriend] (in Japanese). Shumei University Shuppan-kai. ISBN 978-4-915855-47-4. Her maiden name is Shibata.
* Nakamura, Akihiko (2015) [1st pub. Bungeishunjū:2000]. 三島事件 もう一人の主役―烈士と呼ばれた森田必勝 [Another Protagonist of the Mishima Incident: Masakatsu Morita who Called an Upright Man] (in Japanese) (Enlarged ed.). WAC inc. ISBN 978-4-89831-729-7.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Nathan, John (1974). Mishima: A Biography. Boston/Toronto: Little, Brown and Company. ISBN 978-0-316-59844-6.
* Nathan, John (2000) [1st pub. 1976 (an out-of-print book)]. 新版 三島由紀夫─ある評伝 [New edition - Mishima: A Biography] (in Japanese). Translated by Noguchi, Takehiko (New/Revised ed.). Shinchosha. ISBN 978-4-10-505702-2.
* Nishi, Hōtaro (2017). 死の貌―三島由紀夫の真実 [The Appearance of Death: The Truth about Yukio Mishima] (in Japanese). Ronsōsha. ISBN 978-4-8460-1669-2.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Nishi, Hōtaro (2020). 三島由紀夫事件 50年目の証言―警察と自衛隊は何を知っていたか [Yukio Mishima Incident - Testimonies of 50 Years Later: What did the Police and the Self-Defense Forces Know] (in Japanese). Shinchosha. ISBN 978-4-10-353581-2.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Nosaka, Akiyuki (1991) [1st pub. 1987]. 赫奕たる逆光―私説・三島由紀夫 [Brilliant Backlight: A Personal Opinion about Yukio Mishima]. Bunshun Bunko (in Japanese) (Paperback ed.). Bungeishunjū. ISBN 978-4-16-711912-6.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Okayama, Norihiro (2014). 三島由紀夫外伝 [The Side Story of Yukio Mishima] (in Japanese). Sairyusha. ISBN 978-4-7791-7022-5.
* Okuno, Takeo (2000) [1st pub. 1993]. 三島由紀夫伝説 [Legend of Yukio Mishima]. Shincho Bunko (in Japanese) (Revised/Paperback ed.). Shincho. ISBN 978-4-10-135602-0.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Religious Thought Research Society, ed. (1972). 日本人の生死観 [Japanese Views on Life and Death] (in Japanese). Daizō Shuppan. NCID BN05030434.
* Satō, Hideaki; Yamanaka, Takeshi; Matsumoto, Tōru, eds. (2006). 三島由紀夫と映画〈三島由紀夫研究2〉 [Yukio Mishima and Movies]. Research of Yukio Mishima 2 (in Japanese). Kanae Shobo. ISBN 978-4-907846-43-5.
* Satō, Hideaki; Yamanaka, Takeshi; Matsumoto, Tōru, eds. (2024). 三島由紀夫のエンターテインメント〈三島由紀夫研究24〉 [Yukio Mishima's Entertainment]. Research of Yukio Mishima 24 (in Japanese). Kanae Shobo. ISBN 978-4-907282-97-4.
* Satō, Hideaki; Yamanaka, Takeshi; Matsumoto, Tōru, eds. (2011). 同時代の証言 三島由紀夫 [Testimonies of the Contemporaries: Yukio Mishima] (in Japanese). Kanae Shobo. ISBN 978-4-907846-77-0.
* Scott-Stokes, Henry (2000). The Life and Death of Yukio Mishima (Enlarged/Revised ed.). New York: Cooper Square Press. ISBN 978-0-8154-1074-4.
* Scott-Stokes, Henry (1985). 三島由紀夫─死と真実 [The Life and Death of Yukio Mishima] (in Japanese). Translated by Tokuoka, Takao. Diamond, Inc. ISBN 978-4-478-94056-3.
* Scott-Stokes, Henry (1998). 三島由紀夫─生と死 [The Life and Death of Yukio Mishima] (in Japanese). Translated by Tokuoka, Takao (Enlarged/Revised ed.). Seiryu Publ. ISBN 978-4-916028-52-5.
* Scott-Stokes, Henry; Kase, Hideaki (2012). なぜアメリカは、対日戦争を仕掛けたのか [Reason Why America Set a Trap of the War against Japan]. Shodensha Shinsho (in Japanese). Translated by Fujita, Hiroyuki. Shodensha. ISBN 978-4-396-11287-5.
* Seikai, Ken (1992). 三島由紀夫とニーチェ―悲劇的文化とイロニー [Yukio Mishima and Nietzsche: Tragic Culture and Irony] (in Japanese). Seikyūsha. ISBN 978-4-7872-9066-3.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Seikai, Ken (2000). 三島由紀夫の帰還―青海健評論集 [The Return of Yukio Mishima: Ken Seikai's Criticism Collection] (in Japanese). Ozawa Shoten. ISBN 978-4-7551-0393-3.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Setouchi, Jakucho; Miwa, Akihiro (2003). ぴんぽんぱん ふたり話 [Pin-pon-pan: Chatting of Two] (in Japanese). Shueisha. ISBN 978-4-08-775295-3.
* Shibata, Shōji (2012). 三島由紀夫 作品に隠された自決への道 [Yukio Mishima: The Path to Suicide Hidden in His Works] (in Japanese). Shodensha. ISBN 978-4-396-11300-1.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Shiine, Yamato (2012) [1st pub. 2007]. 完全版 平凡パンチの三島由紀夫 [Complete Version: Yukio Mishima from Heibon Punch] (in Japanese) (Enlarged ed.). Matsurikasha (Kawade Shobō Shinsha). ISBN 978-4-309-90963-9.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Shimauchi, Keiji (2010). 三島由紀夫―豊饒の海へ注ぐ [Yukio Mishima: Flows into The Sea of Fertility]. Minerva Japan Biography Selection (in Japanese). Minerva Shobo. ISBN 978-4-623-05912-6.
* Sugiyama, Takao (2007). 「兵士」になれなかった三島由紀夫 [Yukio Mishima, who could not Become a "Soldier"]. Soldier Series (in Japanese). Shogakukan. ISBN 978-4-09-379773-3.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Suzuki, Ayumi; Tamura, Tsukasa (supervisor) (2005). 火群のゆくへ―元楯の会会員たちの心の軌跡 [Whereabouts of the Flames: The Trajectories of Their Hearts who once Belonged to the Tatenokai] (in Japanese). Hakurosha. ISBN 978-4-434-07066-2.
* Takemoto, Tadao (1998) [1st pub. 1981]. パリ憂国忌―三島由紀夫VSヨーロッパ [Paris Yūkoku-ki: Yukio Mishima VS Europe] (in Japanese) (3rd ed.). Nippon Kyobunsha. ISBN 978-4-531-06116-7.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Tekina, Osamu (2015). ミシマの警告―保守を偽装するB層の害毒 [Mishima's Warnings: The Poison of the B-class Disguised as Conservative] (in Japanese). Kodansha. ISBN 978-4-06-272784-6.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Toda, Yoshio; Nagafuji, Takeshi (1978). よみがえる三島由紀夫―霊の人の文学と武と [Yukio Mishima Resurrected: The Person of Spirit, His Literature and Martial Arts] (in Japanese). Nippon Kyobunnsha. ISBN 978-4531060924. NCID BN09146011.
* Tokuoka, Takao (1999) [1st pub. 1996]. 五衰の人―三島由紀夫私記 [The Man of the Decay of the Angel: Private Notes about Yukio Mishima] (in Japanese) (Paperback ed.). Bungeishunjū. ISBN 978-4-16-744903-2.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Yamamoto, Kiyokatsu (1980). 三島由紀夫・憂悶の祖国防衛賦―市ケ谷決起への道程と真相 [Yukio Mishima - An Anguish Verse of Fatherland Defense: The Path to the Ichigaya Uprising and the Truth] (in Japanese). Nihon Bungeisha. ISBN 978-4-537-00517-2. NCID BN10688248.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Yamamoto, Kiyokatsu (2001). 自衛隊「影の部隊」―三島由紀夫を殺した真実の告白 [Japan Self-Defense Forces "A Unit of Shadow": Confession of a Truth that Killed Yukio Mishima] (in Japanese). Kodansha. ISBN 978-4-06-210781-5.`{{cite book}}`: CS1 maint: ref duplicates default (link)
* Yamauchi, Yukito (2014). 三島由紀夫の肉体 [Yukio Mishima's Body] (in Japanese). Kawade Shobō Shinsha. ISBN 978-4-309-02318-2.
* Yuasa, Atsuko (1984). ロイと鏡子 [Roy & Kyoko] (in Japanese). Chuoukoronsha. ISBN 978-4-12-001276-1.`{{cite book}}`: CS1 maint: ref duplicates default (link) Atsuko Yuasa (湯浅あつ子) was an old friend of Mishima, and her house was model of Kyōko no Ie (鏡子の家; "Kyōko no Ie"). Her husband was Japanese TV personality Roy James (ロイ・ジェームス).
* 新潮 1月・臨時増刊 三島由紀夫読本 [Shinchō – January Extra Special Issue: Yukio Mishima Reader] (in Japanese). Shinchosha. 1971. ASIN B00QRZ32NO.
* ユリイカ 特集 攻殻機動隊 STAND ALONE COMPLEX [Eureka - Special Feature: Ghost in the Shell STAND ALONE COMPLEX] (in Japanese). Seidosha. 2005. ISBN 978-4-7917-0139-1.
* 月刊日本2008年1月号 [Monthly Nippon - January 2008 Issue] (in Japanese). Vol. 12\. K&K Press. 2008. ASIN B001190EIW.

## External links

[edit]

Wikimedia Commons has media related to Yukio Mishima.

Wikiquote has quotations related to Yukio Mishima.

* 三島由紀夫文学館 The Mishima Yukio Literary Museum website In Japanese only, with the exception of one page (see "English Guide" at top right)
* 山中湖文学の森公園「三島由紀夫文学館」Yamanakako Forest Park of Literature "Mishima Yukio Literary Museum" Archived 16 May 2020 at the Wayback Machine
* Yukio Mishima: A 20th Century Samurai at the Wayback Machine (archived 27 October 2009)
* Petri Liukkonen. "Yukio Mishima". Books and Writers.
* Mishima chronology, with links
* Yukio Mishima: The Harmony of Pen and Sword, a ceremony commemorating his 70th birthday
* Yukio Mishima speaking in English, On The Samurai Spirit on YouTube, from a 1980s BBC documentary (9:02)
* Rare 1969 interview with Yukio Mishima on YouTube, from Canadian Television (3:59)
* Yukio Mishima on The end of WWII on YouTube – Full NHK Interview in 1966 (9:21)
* Yukio Mishima's attempt at personal branding comes to light in the rediscovered 'Star', Nicolas Gattig, The Japan Times (27 April 2019)
* Yukio Mishima at IMDb

* v
* t
* e

Yukio Mishima

* Bibliography

Prose books|

* Confessions of a Mask (1949)
* Thirst for Love (1950)
* Forbidden Colors (1951, 1953)
* Death in Midsummer and Other Stories (1952)
* The Sound of Waves (1954)
* The Temple of the Golden Pavilion (1956)
* Kyoko's House (1959)
* After the Banquet (1960)
* The Frolic of the Beasts (1961)
* Beautiful Star (1962)
* The Sailor Who Fell from Grace with the Sea (1963)
* The School of Flesh (1964)
* Silk and Insight (1964)
* Acts of Worship (1965)
* Sun and Steel (1968)
* Life for Sale (1968)
* The Sea of Fertility
* Spring Snow (1969)
* Runaway Horses (1969)
* The Temple of Dawn (1970)
* The Decay of the Angel (1971)

Short stories|

* "Death in Midsummer" (1952)
* "Patriotism" (1960)
* "Star" (1960)

Drama|

* Five Modern Noh Plays (1950–1955)
* The Lady Aoi (1954)
* Iwashi Uri Koi Hikiami (1954)
* Rokumeikan (1956)
* Madame de Sade (1965)
* My Friend Hitler (1968)

Film|

* Patriotism (1966)

Works about|

* The Moon in the Water (1979)
* Mishima: A Vision of the Void (1981)
* Mishima: A Life in Four Chapters (1985)
* 11:25 The Day He Chose His Own Fate (2012)
* Persona: A Biography of Yukio Mishima (2012)

Related topics|

* Conservatism in Japan
* Tatenokai
* Yukio Mishima Prize
* The Lady Aoi (Bahram Beyzai production)

* v
* t
* e

Kokkashugi

Themes|

* Anti-communism
* Bushido
* Corporatism
* Emperor system
* Fascism
* Gekokujō
* Hakkō ichiu
* Japanese militarism
* Kokutai
* Pan-Asianism
* State Shinto
* Statism
* Capitalism
* Totalitarianism
* Ultranationalism
* Yamato-damashii

Movements|

* Reform bureaucratism
* Shōwa Restoration

People|

| Before 1945|

* Hirohito
* Sadao Araki
* Inejirō Asanuma
* Tanaka Chigaku
* Kingoro Hashimoto
* Kiichirō Hiranuma
* Koki Hirota
* Nisshō Inoue
* Kanji Ishiwara
* Nobusuke Kishi
* Ikki Kita
* Kuniaki Koiso
* Fumimaro Konoe
* Jinzaburō Masaki
* Seigō Nakano
* Shūmei Ōkawa
* Uesugi Shinkichi
* Hideki Tojo
* Masanobu Tsuji

|

Post-war Japan|

* Bin Akao
* Yukio Mishima
* Otoya Yamaguchi

Other|

* Subhas Chandra Bose
* Park Chung Hee

Organizations and factions|

| Before 1945|

* Black Ocean Society
* Fleet faction

* Gakutotai
* Great Japan Youth Party
* Imperial Rule Assistance Association
* Imperial Rule Assistance Political Association
* Japanese Committee on Trade and Information
* Kōdōha
* League of Diet Members Supporting the Prosecution of the Holy War
* National Defense Brotherhood
* National Foundation Society
* National Spiritual Mobilization Movement
* Sakurakai
* Shōwa Kenkyūkai
* Tōhōkai
* Tōseiha
* Yokusan Sonendan
* Young Officers Movement
* Yūzonsha

|

Post-war Japan|

* Nippon Kaigi
* Tatenokai

Other|

* Concordia Association
* Makapili

History|

| 1930s|

* February 26 Incident
* League of Blood Incident
* Marco Polo Bridge incident
* March incident
* May 15 incident
* Military Academy incident
* Mukden incident
* October incident
* State General Mobilization Law
* Withdrawal from the Washington Naval Treaty

|

1940–1945|

* Greater East Asia Co-Prosperity Sphere
* Kyūjō incident
* Pacific War
* Tripartite Pact

1945–1949|

* Matsue incident
* Purge
* Reverse Course
* Sanmu incident

After the 1950s|

* Mishima incident

Works|

* An Investigation of Global Policy with the Yamato Race as Nucleus
* How Japan Plans to Win
* Kokutairon and Pure Socialism
* Momotaro: Sacred Sailors
* Momotarō no Umiwashi
* Moyuru ōzora
* Patriotism
* Ode of Showa Restoration
* Shinmin no Michi
* Sun and Steel
* The Most Beautiful

Related topics|

* American cover-up of Japanese war crimes
* The Cleanest Race
* Collaboration with Imperial Japan
* Korean
* Greater East Asia Conference
* International Military Tribunal for the Far East
* Japanese war crimes
* Japanese history textbook controversies
* List of World War II puppet states of Japan
* Propaganda in Japan during the Second Sino-Japanese War and World War II
* Uyoku dantai

Category

* v
* t
* e

Coups, rebellions, and revolts in Japan

Attempted
coups and
rebellions|

| Pre-Modern
Japan|

* Kibi Clan Rebellion (463)
* Prince Hoshikawa Rebellion (479)
* Iwai Rebellion (527)
* Isshi incident (645)
* Jinshin Rebellion (672)
* Hayato Rebellion (720–721)
* Fujiwara no Hirotsugu Rebellion (740)
* Fujiwara no Nakamaro Rebellion (764)
* Tengyō no Ran (939–940)
* Hōgen Rebellion (1156)
* Heiji Rebellion (1160)
* Shishigatani incident (1177)
* Siege of Hōjūjidono (1184)
* Kennin Rebellion (1201)
* Jōkyū Rebellion (1221)
* Shōchō uprising (1428)
* Yūki War(1440-1441)
* Kakitsu uprising (1441)
* Yamashiro Rebellion (1485–1493)
* Kaga Rebellion (1487–1488)
* Honnō-ji Incident (1582)
* Kunohe Rebellion (1591)
* Rokugō rebellion (1603)
* Shimabara Rebellion (1637–1638)
* Keian Uprising (1651)
* Shakushain's revolt (1669–1672)
* Menashi–Kunashir rebellion (1789)
* Ōshio Heihachirō's Rebellion (1837)
* Teradaya incident (1862, 1866)
* Shimonoseki Campaign (1863–1864)
* Tenchūgumi incident (1863)
* Mito Rebellion (1864)
* Kinmon incident (1864)

|

Meiji era|

* Two Lords Incident (1868)
* Saga Rebellion (1874)
* Shinpūren Rebellion (1876)
* Akizuki Rebellion (1876)
* Hagi Rebellion (1876)
* Satsuma Rebellion (1877)
* Takebashi incident (1878)
* Fukushima incident (1882)
* Chichibu incident (1884)

Shōwa era|

* March incident (1931)
* October incident (1931)
* League of Blood Incident (1932)
* May 15 incident (1932)
* Military Academy incident (1934)
* February 26 incident (1936)
* Kyūjō incident (1945)
* Matsue incident (1945)
* Sanmu incident (1961)
* Mishima incident (1970)

Riots and
civil disorder|

| Pre-Modern
Japan|

* Kakitsu uprising (1441)
* Jōkyō uprising (1686)

|

Meiji era|

* Blood tax riots (1873)
* Nagasaki incident (1886)
* Hibiya incendiary incident (1905)

Taishō era|

* Rice riots (1918)
* Kantō Massacre (1923)

Shōwa era|

* Shibuya incident (1946)
* Bloody May Day (1952)
* Shinjuku riot (1968)
* Koza riot (1970)

Portals:

* Japan
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Authority control databases

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* ISNI
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Academics|

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Artists|

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People|

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* DDB

Other|

* IdRef
* SNAC

*[lit.]: literal translation
*[v]: View this template
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