Read O Pavilhão Dourado by Yukio Mishima Shintaro Hayashi Online


Durante a Segunda Guerra, em Quioto, um jovem assistente de sacerdote frequenta o templo do Pavilhão Dourado, ambiente antes cultuado por seu pai como o lugar mais belo do mundo. Ali, Mizoguchi, adolescente inseguro, introspectivo, que sofre de gagueira e é incapaz de estabelecer verdadeiras amizades, encontra refúgio para suas aflições.Quando conhece Kashiwagi, deficienteDurante a Segunda Guerra, em Quioto, um jovem assistente de sacerdote frequenta o templo do Pavilhão Dourado, ambiente antes cultuado por seu pai como o lugar mais belo do mundo. Ali, Mizoguchi, adolescente inseguro, introspectivo, que sofre de gagueira e é incapaz de estabelecer verdadeiras amizades, encontra refúgio para suas aflições.Quando conhece Kashiwagi, deficiente físico muito mais experiente no mundo e no sexo, Mizoguchi desperta para o que chama de mal absoluto. O conhecimento do mal, associado à ideia de perfeita beleza, princípio básico do Pavilhão Dourado, faz com que o jovem alimente sonhos de destruição e autodestruição, estranhas conjecturas sexuais e reflexões sobre o significado dos valores universais, numa tortura mental que revela que o mal e a beleza não estão tão distantes quanto parecem....

Title : O Pavilhão Dourado
Author :
Rating :
ISBN : 9788535916812
Format Type : Paperback
Number of Pages : 288 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

O Pavilhão Dourado Reviews

  • Michael Finocchiaro
    2019-03-05 08:39

    This story by Mishima is a beautiful tale about obsession and how it destroys the bearer. It is a fable loosely based on the true story of the burning of the Kinka-kuji temple in Kyoto (I visited it once - it is absolutely sublime!) A must read for entering into the awesome universe of Mishima's writing.

  • Paquita Maria Sanchez
    2019-02-26 07:45

    Oh yes, you do so want to read this novel. I would mark the following synopsis as a "spoiler," but all is revealed in the introduction, and the events that inspired the book are about as big a mystery for the Japanese as what happened to the Titanic is to Westerners anyway, so don't go getting all sore with me like I'm maliciously ruining all your fun. We are being multicultural and pretending we already knew about this major historical event before hearing of and reading Mishima's novel. Who's with me? Then proceed:Mizoguchi, Zen acolyte and aspiring spiritual figurehead of the centuries-old Golden Temple in Kyoto, develops a pathological reverence for (and inevitable hatred of) his place of worship. Even well before Mizoguchi arrives in Kyoto, he positions the Golden Temple in his mind as his only gauge of beauty and divinity in the world. Not just aesthetic beauty, either; more importantly, the temple represents the potential for spiritual beauty and meaning, both his own and that of others...but mostly his own. Mizoguchi is spiritually void, arguably sociopathic, and has a major chip on his shoulder about women. He has seen some shit, man: his mother during his childhood, a neighborhood girl during his preteen years, and an elusive woman during his later teenage years all serve to twist and defile his sexual development, his views concerning the female species as a whole, and rewire his desires in such a way that they become insurmountable and hallucinatory. Added to his troubles, he has a painful speech impediment and a temperament generally divorced from the everyday social capabilities of your average red-blooded male. This paragraph could go on for days if I continued to attempt to fully explain his psychology, so I will just try and wrap things up and save the goods for your future reading experience. After many a twisted cavern is transpassed in his mind, after the Golden Temple's glory has eclipsed that of all else in his life, Mizoguchi decides it's time to get all Mark David Chapman on it. He must destroy it. He will be cleansed, he will be remembered, the world will be balanced again.Never mind the other elements of Mizoguchi's obsession, one of the most exquisitely designed aspects of the novel is his rationalization process. Mishima pits Zen Buddhism against itself, selectively interpreting the scripture in a way that presents Mizoguchi (at least to himself) as more enlightened than his fellow practitioners, and fully justified in his actions. It's the sand mandala argument: beauty is temporary, as is everything but suffering. The temple is an object of great beauty which has stood in disharmony with this Buddhist doctrine for far too long, and Mizoguchi must make right with the world by ridding it of this almost 600 year old mockery.*All this, and yet that isn't even the best part. The prose, the prose, oh my! I will leave it for you to discover. Read some quotes and you will see what I mean. I knew from my previous experience with Mishima (The Sailor Who Fell from Grace with the Sea) that the man could deliver a mean inner dialogue, that his paragraphs were like finely-crafted traps/dark pits, and that he was clearly a genius of style. That book sort of fell apart for me at the end, but I still read the majority of it with a gasp trapped in my throat. What a gifted, fascinating man. A plea: please stop killing yourselves, gifted, fascinating men! Fortunately, his catalog is enormous and I will probably never read it in its entirety. If you decide to try though, I suggest you start here.*The pavilion itself was in fact so treasured (among others, of course), that the Allied forces wouldn't even touch Kyoto, which should say something; they obviously had very few qualms about large-scale, jaw-dropping destruction.

  • StevenGodin
    2019-03-19 09:24

    I have twice in the past tried to read Mishima, firstly 'Spring Snow' which at the time for what ever reason just couldn't seem to get into it, although will definitely return there in due course. Secondly had a go at 'The Sailor Who Fell From Grace With The Sea' but didn't like his nihilistic portrayal of youth. The Temple of the Golden Pavilion was far more accessible and enticing, but still retained a serious and disturbing tone. Based on this evidence, Mishima was somebody that held traditional Japanese religion very highly, and reading through this it was almost impossible to shake off the though of his ritual suicide, and if I had to pick one key word that best describes this work, that would be 'sacrifice'.Following the footsteps of protagonist Mizoguchi who enters into the Buddhist priesthood, gives a compulsive insight to a life of strict code and dedication. After witnessing the radiance of a famous temple in Kyoto with his dying Father, Mizoguchi becomes transfixed, and believes his future is set in stone regarding his ambitions. Turning against his Mother for reasons of sexual deviation, he becomes more or less a loner,after losing his good friend Tsurukawa, he drifts through his life and education, giving himself to the temple he would see a change in his person, with one true focus that left me shocked, stunned and sorrowful.Of all the Japanese writer's I have come across so far, Mishima is probably the best in terms of depth, the narrative here is precise and absorbing, and as mentioned before this was a great place to start for a first timer. You really get a sense of this world, and as a westerner reading of the east there is always something educational to pick up on. The temple itself feels just as much alive as all those within.So it would come as no surprise that the ending didn't sit well with me, how could a place of such historical significance be treated in this way?, I am sure there is some sort of deeper meaning to the ending, but by this time I had given up caring, as the actions of Mizoguchi where just far too self-centered and disrespectful to his ancestors. Also Mishima's perception of women in this novel were not exactly doing them any favours either. But his writing I strongly admire and will no doubt read more of his work, beautifully descriptive but also savagely doom-laden.

  • Jimmy
    2019-03-09 09:28

    On 1 July 1950, during the Allied Occupation of Japan, a Buddhist monk by the name of Yoken Hayashi set fire to the Kinkaku-ji, or, as it is known in English ‘The Temple of the Golden Pavilion’. Yoken was a man of little consequence; a character in history, who, had he not committed such an acrimonious act, would not have been remembered today. He suffered from a debilitating stutter, and was considered ugly by many of his peers. It is often conjectured that Yoken was either schizophrenic or suffered from some degree of mental illness. And yet some observers, such as the Japanese literary scholar Donald Keene, think that Yoken’s motives to destroy the Kinkaku-ji were inspired by feelings of indignation regarding the commercialization of Buddhist temples during the Occupation. The only known insight that Yoken has offered on his crime was “ … I do not believe that I have done anything wrong. It is said that a national treasure has been burned, but that seems more or less meaningless.” To this day, his true motives cease to be completely understood. Some years later, the iconoclastic Japanese novelist Mishima Yukio researched the burning of the Kinkaku-ji, using it as source material for a deeply philosophical novel entitled The Temple of the Golden Pavilion.The Kinkaku-ji – its proper name was the Rokuon-ji – is a by-product of Muromachi culture, and was originally a villa built by the statesman Saoinji Kintsune. It was subsequently purchased by Ashikaga Yoshimitsu. After the death of Yoshimitsu, what was once intended as a relaxing place to escape the pressures of the administrative duties of the Shogunate, was converted into a Zen Buddhist temple. The particular sect of Buddhism practiced was Rinzai Buddhism, which focuses on meditation and koans (Japanese riddles); it is one of the three main sects of Zen Buddhism in Japan. It was in this building that Yoken trained to become a Zen priest as his father had. Bathed in the luster of its gold covering, embodying aspects of Chinese-style architecture and Heian aesthetics, this three-storied double-roofed structure located at the edge of a pond, surrounded by lush forestry, is truly an image of cultural beauty. In developing the character of Mizoguchi, who is based on Yoken, Mishima wanted to create a figure whose personal deformities – his stutter and his ugliness – provoke an obsession with a symbol of pure beauty. Early in the novel, Mizoguchi’s fascination with the Kinkaku-ji is inspired by, what he sees as its permanence in a world full of death and constant decay, “I knew and believed that, amid all the changes of the world, The Golden Temple remained there safe and immutable.” Against the historical backdrop of the Pacific War, Mizoguchi sees a good deal of death around him. Uiko a local girl he knew in Maizuru, is killed by the Kempeitai (Japanese military police) for sleeping with a deserter, his father passes, as well as his close friend Tsurukawa (later revealed to be a suicide), and he witnesses the devastation reaped by the Pacific War, specifically the air raids throughout Japan. Kyoto, where the Kinkaku-ji is located, was an exception during this time. During the strategic aerial bombings orchestrated by Curtis Lemay, Secretary of War Henry Stimson’s one request was that Kyoto not be destroyed, as it was the cultural heart of the Japan and, most notably, its former Imperial capital; the focus was on the more industrialized areas such as Tokyo and Osaka. It is this quality of immutability that Mizoguchi sees in the Kinkaku-ji that eventually inspires feelings of hatred. Initially, he decides to burn down the temple because he assumes that it will eventually be destroyed as many lives around him have, but the resilience of this ancient structure is what motivates him into action.And ultimately, action, not words, is what is truly important to both Mizoguchi and Mishima. Later in the novel, Mizoguchi befriends a fellow deformed student with ‘clubbed feet’ named Kashiwagi. He admires Kashiwagi because as he saw it, “I understood that he disliked lasting beauty. His likings were limited to things such as music, which vanished instantly, or flower arrangements, which faded in a matter of days; he loathed architecture and literature.” Though it has been commented on before, it’s tempting here to draw the ultimate artistic parallel: that between Yoken’s act of burning down the Kinkaku-ji, and Mishima’s attempted coup d’etat in 1970 resulting in his suicide.In this light, the question becomes one of whether the dramatic actions of these men were motivated by political realities, or it was because both of them were so disturbed by the impermanent nature of beauty in the real world that they felt the need to destroy it in order to free themselves from the oppressive philosophical weight of its transient essence. Considering his reverence for the Heian aesthetic, Buddhism, and Japanese nationalism, it’s likely that Mishima saw in Yoken, an act of protest against the increasing modernity prevalent in Japanese culture and social life after the war. In spite of Mishima’s apparent fondness for European literature and philosophy, as well as his interest in American culture, he saw Japan’s situation as relatively hopeless. In the years leading up to his death, he confided in his close friend, the Japanese film scholar Donald Richie that for Japan “there is nothing to save.” This leads Richie to speculate on Mishima’s motives for his suicide, “When I learned of his suicide that is what I first remembered-that he already knew that there was nothing more to save. His may have been a political statement, an aesthetic statement, but it was also a despairing personal statement.” This last line is the most striking: “a despairing personal statement.” It’s questionable that Yoken’s character was as deeply philosophical as he is portrayed by Mishima. Rather, in The Temple of the Golden Pavilion Mizoguchi comes off as a literary mouthpiece for Mishima’s thematic obsession with the fleeting nature of existence. This melancholy preoccupation with the transient nature of life was first articulated with precision by the 18th century philosopher and literary critic Motoori Norinaga whose interpretation of the Heian period classic The Tale of Genji viewed the book in the context of mono no aware, or “ a sensitivity to things". This same thematic concept, one seemingly more poetic and artistic than political, is also embodied in Mishima’s rendition of the famous Noh play Sotoba Komachi, which is more of a mono no aware take on femininity. In his book on Noh theater, William T. Vollmann opines that, “Mishima continually implies that the beauty of femininity’s mask is not merely delusory, but dangerous, distracting, voracious: the ruination of male energy." Again, there is a clearly defined thematic concern with aging and transience in Mishima’s take on the destruction and passing of beauty; this time on the grotesque Noh figure of Komachi. Mishima was also very fond of Lady Murasaki’s classic tale of the “shining prince.”The Temple of the Golden Pavilion is a rich, complicated novel, as are many of Mishima’s other books. While the theme of mono no aware is predominant throughout this fictional account of a crazed Buddhist acolyte and his relatively inscrutable actions, there are metaphysical Aristotelian musings; Mizoguchi’s distinction between the world of words that creates his inner world, and the outer world of reality. The hypocrisy of Zen Buddhism is called into question: the Superior's courting of a geisha, which is reminiscent of the character of Redshirt in Natsume Soseki’s Botchan. And above all else, a Japan that was experiencing the American influence of the military, postwar poverty, and a diminishing faith in the kokutai after Emperor Hirohito was renounced his divinity. While all of these historical details add depth to the story of a man who many thought was insane, if not just painfully dull, the most powerful theme is the hatred of beautiful things. This hatred and cruelty, as Mizoguchi describes it are, again, inspired by the unattainable nature of beauty. As Mizoguchi declares, in conversation with Kashiwagi, right before he’s about to finally put his words into action and tap into that “outer reality”, “Beauty, beautiful things,’ I continued, ‘those are my most deadly enemies." And for Mishima, this was also true. His life, in its many guises and forms, was a continuous pursuit of, and battle with, the transient essence of beauty. Whether he found it in the literary classics of Japan, ancient temples, femininity, or the nationalistic fervor of the kokutai, the profound effect that beauty had on Mishima’s life, in the end, made living unbearable.

  • Lars Jerlach
    2019-03-10 04:51

    The Temple of the Golden Pavilion traces the curious relationship between a young stuttering priest named Mizoguchi and the Golden Pavilion, from the time when his father first introduces him to the serene and incomparable beauty of the temple, to the moment when, having finally destroyed it, he smokes a cigarette in an almost post coital act of defiance. Until this last dramatic act, the Golden Pavilion has dominated MIzugushi’s life, constantly changing its meaning in his confused but charged mind, from a reassuring foundation for his belief to a menacing authority that lays over him like a subjugating presence and he finally comes to the conclusion that only by destroying the pavilion can he truly free himself from its eternal grip. From the beginning of the novel when Mizogushi as a young boy, lying next to his dying dad, witnesses his mother’s infidelity, the novel quickly evolves into a philosophical meditation on the qualities of anger/ forgiveness, attraction/ repulsion and of the all encompassing question of the significance and standard of external and internal beauty. One of the rather interesting strategic elements in the narrative is that it’s particularly hard to feel compassion for Mizogushi, who’s portrayed as a self obsessed, reticent and somewhat cruel individual. Mishima has crafted his protagonist’s narrative voice extremely well, and although it’s sometimes hard to agree with his choices, they all seem to make sense within his obsessive reality. The novel is philosophically rich and some of the most fundamental questions that we ask ourselves are succinctly addressed in the narrative: How beauty can exist in a world of evil, how a single moment like the physical placement of a single blade of grass can be understood contrasted against the cosmic physical world, and ultimately how we constantly seek to understand ourselves.The book is wonderfully written, the prose is inspired and evocative, and I particularly appreciate the underlying tone of ineradicable despair, even when objects of great beauty is described.

  • Eddie Watkins
    2019-03-07 09:41

    To make one Mishima take one dehydrated Dostoevsky; remove all hair and whiskers (go all the way! give old Dos a full Brazilian!) then polish to a steely sheen; carefully remove the heart and brain; take the heart between both hands and squeeze, using occult Buddhist techniques, until the heart’s emotional essence is drop by drop converted into intellectual conceits; collect these drops and add to brain; replace squeezed-out Dostoevsky heart with something pitiless; rehydrate with fanaticism and disembodied compassion and send it on its way through a convoluted and deterministic universe. This recipe good for only one side of Mishima, as he appears to have been a man who, even as he refined his mind and body to a single point of final intensity, kept his myriad contradictions in solution to serve as goad and fuel for that single-minded intensity. The more I think about it the less sense the recipe makes (as in even this one aspects of mercurial Mishima have already slipped through its measurements and proportions), so scrap the recipe, but let its memory linger in the mind as a kind of partial ghost image, an echo of a meaning that never quite was; which is appropriate as Mishima was - at times (as in this book) - an anti-intellectual intellectual, a man for whom words, thoughts, ideas were thoroughly plastic and manipulable, able to fill-out and justify any cockamamie idea, and so in a way meaningless, though still of course powerful enough to exert an inexpugnable sway. What does one do when faced with such an intellectual dilemma? Burn what is perceived as the wellspring of intellectual aesthetic permanence down to the ground so as to more directly access the infinite root network of instinctual reality, if only for a moment… Mishima must have delighted in the idea of writing this book, as working from an existing true story fulfilled his needs, even at the meta level, of a determined world, of fate as the driving force, even as his natural intensity and intellectual fire attempted to transcend the actual flames and convoluted messiness of this world to present a fleeting image of perfection, as a glance through an infinitely-faceted crystal, of an apotheosis, a single moment that briefly encapsulates a hydra-headed life.

  • Deniz Balcı
    2019-02-22 04:28

    'Altın Köşk Tapınağı' yapısıyla bir üst-kurmaca özelliği taşırken, aslında yazarın bütün eserlerinde gördüğümüz 'kendisi' merkezli bir roman. Konusunu, 1950 senesinde, Kyoto'da yaşanan gerçek bir olaydan alan kitap; Mishima'nın elinde çok katmanlı, karanlık bir düşünme şeklinin gösterisi haline gelmiş. Bu 'Denizi Yitiren Denizci'den alışkın olduğumuz bir şey aslında, ancak orada hikayenin kontürlerini çok iyi çizen Mishima, Noburo karakteri üzerinden yoğun felsefi aktarımlara girişmiyordu ya da 'Bir Maskenin İtirafları'ndaki otobiyografik sayıklamalar bu kadar düzensiz ve kapalı değildi. Buradaki 'karanlık dil' benim zaman zaman 'Bereket Denizi' kitaplarında hissettiğim ancak hiçbir zaman hikayenin önüne geçtiğine tanık olmadığım cinsten. Mishima'nın bu çabasında, olayın gerçekten yaşanmış olmasının getirdiği gerçeklik ve suçlunun psikolojik bozukluğunu silerek, esere kendi kafasındaki Mizoguchi imgesini yansıtma gayreti yatıyor olabilir, bilemiyorum. Ancak ne olursa olsun, romandan hikayeyi çıkarırsak elimizde salt Mishima'nın düşünceleri kalıyor.'Altın Köşk Tapınağı' Mishima'nın 1956'da yazmış olduğu, o zamana değin yayımlandığı romanların beşincisi. Daha sonraki romanlarının bazılarında da işlediğini gördüğümüz 'tutku' kavramını burada da oldukça tutkulu bir şekilde ele almış. Bu roman, Mishima'nın bir çok romanının aksine yayımlandığından 3 sene sonra Batı dillerine çevrilmiş. Muhtemelen bunda 'Bir Maskenin İtirafları'nın devam eden yankıları ve 'Altın Köşk Tapınağı'nda anlattığı öykünün medyatik ve güncel yönü etkili olmuştur. Sebep ne olursa olsun, bunun Mishima'yı dünyaya tanıtan ilk hamlenin devamı olduğunu söyleyebiliriz. Kitapta (gerçek olaylarda olduğu gibi) çömezliğini geçirmek üzere 'Altın Köşk Tapınağı'na gelen, kekeme ve çirkin bir keşiş adayı olan Mizoguchi'nin öyküsü anlatılmaktadır. Normal hayatta şizofreni ve kişilik bozukluğuna sahip olan Mizoguchi, Mishima'nın kurmacasında psikolojik olarak sağlıklı, sadece bazı açılardan sıra dışı düşünen bir karakterdir. Tıpkı Mishima'nın kendisi gibi. Kekemelik durumu ve kekemelerin hisleri Mishima tarafından o kadar ustalıkla anlatılmış ki, buna hayran kaldığımı söylemem lazım. Özellikle, kekemelerin hayat içinde karşılanış şeklini değil, hayatın kekemeler tarafından ne şekilde karşılandığını anlatmış olması çok hoşuma gitti. Mizoguchi, roman boyunca ailesel travmalarının gölgesinde mistik ve nereye yerleştireceğini bilemediği hisleriyle uğraşırken; bir yandan da 'dünyanın en güzel şeyi' olarak simgeleştirdiği 'Altın Köşk Tapınağı' etrafında 'güzellik' kavramını sorguluyor. Mishima, karakterinin kafasına girip, onların ağzından kendi düşüncelerini aktarıp, bunu okuyucusuna kolaylıkla geçirebilen, onları ikna edebilen bir yazar. Bu romanda da bunun en iyi örneklerinden birini gösteriyor. Güzellik kavgasında bir Mizoguchi, bir Tsurukuva, bir Kaşivagi gibi düşünür buluyoruz kendimizi.Her şey bir kenara bırakırsak çeviri muazzam. Ali Volkan Erdemir çok yetkin bir çeviri ortaya koymuş. Hatta elimizdeki en iyi Mishima çevirisi olarak ele alınabilir, bana kalırsa. Bundan sonrası spoiler içerir.İlk bölümde, Mizoguchi'nin ilk hayran olduğu kadın Uiko'nun kısmi intiharı oldukça dramatik şekilde ele alınmış. Neredeyse bir melodram havasında, Uiko'yu Kongo Tapınağı'nda sevdiğinin yanına koşarken görürüz, ancak tapınağın tam ortasına gelmişken öldürülür ve sevdiği kaçak asker de hemen ardından intihar eder. Bu ilk öykü, aslında eser boyunca ana karakterin, buradan hareketle bir şeyler doğuracağı hissini veriyor. Ki zaten eser boyunca da Uiko resmen bir leitmotif gibi hikayeyi bütünleyen ayrıntı oluyor.Sonrasında 'Altın Köşk Tapınağı'nı anlatmaya başlayan Mizoguchi, yaptığı pitoresk mekan tasvirleri ile bizi de oldukça büyülüyor. Zaten karakter de 'güzellik' kavramıyla girişeceği saplantılı sürecin sinyallerini ilk kez burada veriyor. Akabinde babasını kaybeden Mizoguchi, büyüme sancıları çekerken kendini yalnızca tapınağa teslim edebiliyor. Karakterin keşişlikle olan saplantılı ilişkisi, zaman zaman başkeşiş, zaman zaman babasının hayaleti, zaman zaman annesinin beklentileri yüzünden tıpkı Altın Köşk gibi eklektik bir şekilde bölünüp, parçalanıp, şekilleniyor. Burada Mizoguchi'nin her gün tapınak ile yeniden tanışması ve onu her gün başka bir şekilde görme, gözünde güzelleştirme çabasını okuyoruz. Bu bana Osamu Dazai'nin 'Buruk Ayrılık' kitabındaki Çinli Zu ile ana karakterin dağda karşılaşması ve onca şairin uğruna şiirler yazdığı manzarayı; onlar gibi görme çabalarını hatırlattı. Orada bir kez yaşanan farkındalık, burada her gün yaşanan bezdirici bir şey haline dönüşüyor. Annesi ile çatışmalarına değindiği noktada, Mizoguchi üzerinde travmatik bir etkiye sahip olan olaylarla karşılaşıyoruz. Mishima'nın kutsal olan şeylere karşı hınçla yaklaşmasını biraz Marques de Sade'ın eserlerine benzetiyorum. Buradaki anne üzerinden de benzer bir şeyi yapıyor Mishima. Mizguchi'nin okulda kendine arkadaş olarak seçtiği, ayakları yumru şeklinde olan engelli Kaşivagi'nin ilk tanışmada anlattığı bekaretini yitirme öyküsü bence Mishima'nın dehasına bir örnek. Fikirlerin özünde yatan şeyleri sevmeyecek olsanız bile bence aktarış şekli okumaya değer. Bu estetik ve oyunbaz tavrı açıkçası beni inanılmaz motive ediyor, bana ilham oluyor. Kaşivagi, sonrasında Mizoguchi tarafından zaman zaman itici bulunsa da; bana göre Mishima'nın alteregosu olarak kitapta yer alıyor. Kaşivagi'nin hiç yabancı gelmemesi, daha dün yanında oturduğum arkadaşım gibi olması bundan sebep diyorum.Tsurukuva'nın ölümü kitabın ve karakterin dönüm noktalarından biri oluyor. Kaşivagi ile daha da yakınlaşan Mizoguchi, diğer yandan tapınağa rağmen, tapınağın içindekilerin çirkinlikleri ile de tanışıyor. İyi tarafını Tsurukuva ile kaybettiğini düşünen Mizoguchi, belki de gerçek anlamda kötülük yapmasını engellediğini hissettiği, arzu nesnesi 'Altın Köşk Tapınağı'ndan uzağa gitme isteğiyle fiziki bir yolculuğa çıkıyor. Bunu gerçekleştirmeyi başarıp, denizin kenarına geldiğinde, kendisiyle giriştiği kavgayı sonlandırıyor ve içindeki eylem arzusunu ve olası eylemselliğin sonuçlarını keşfediyor. Buraları okurken hep kendi hayatımdan bir hareket noktası bulup, onu anımsadım. Geçmişime bu gözle bakmamış olduğum, farkında olmasam da benzer hislerle hareket ettiğimi kavradım. İnanılmaz gerçekten.Bu arada daha dün okumuş olduğum Engin Türkgeldi'nin 'Orada Bir Yerde' isimli öykü kitabının son öyküsünde de benzer bir temanın işlendiğini hatırlayınca garip oldum. Güzellik ve felaket arasındaki, Mishima'dan alışkın olduğumuz ilişki; Türkgeldi'nin öyküsünde de oldukça naif bir şekilde işlenmişti. Buraya da not düşeyim dedim.Diğer taraftan tapınağın yakın zamanda yok olacağını öngören Mizoguchi çevresinde çatışma yaşadığı her şeyle barışıyor. Tıpkı ölümle barışan, ölmekten korkmayan insanların daha yaşarken hissettikleri o huzur gibi. Mizoguchi'nin bu tavrı bana aslında Mishima'nın son günlerini anımsattı. Mishima'nın elem sonuna dair bütün eserlerinde bir iz bulmak mümkün, buradaki bağırsak imgesi gibi vs. Ama beni en çok Mizoguchi'nin tapınağı yakmaya karar vermesi ile yaktığı zaman arasındaki halinin, nedense Mishima'nın son günlerine dair bilgi sahibi olabildiklerimize çok benzemesi. Eserlerinden Mishima'yı izlemek bana ayrı bir keyif veriyor.Kitabın sekizinci bölümünde Kaşivagi ile Mizoguchi arasında geçen farkındalık-eylemsellik muhabbeti ise; benim için tek başına parlayan bir kısım oldu. Birkaç kere okuma ihtiyacı hissettim. Yine düşüncenin hikaye içerisinde aktarılmasının en ustaca örneklerinden biri ve bana kalırsa çok haklı.Daha çok şey denilebilir. Biraz demlenmeye bırakmam en iyisi olacak sanırım. Daha yeni bitti, biraz kafanın sakinleşmesi lazım.Herkese iyi okumalar!8.5/10

  • Stephen M
    2019-03-03 09:22

    This book made me think of a term I learned in a psychology class called eidetic memory; a short look over at wikipedia will give a bit of a misleading definition. Eidetic memory, at least in the form that I learned it, is the short-term, instantaneous memory of visual images that, under certain theories, is stored for a very brief period of time before transferring into long term memory store. The effects of eidetic memory can be shown in a number of ways, but most famous is the optical illusion of staring at an amorphous image for 30 seconds and looking away to see the image of jesus imprinted on the lens of your eyesight. Other examples include an american flag, pictures of presidents, etc. All that it takes is staring at the image for an extended period of time and the picture will superimpose itself onto the wall, the ground or whatever it is that you may be looking at. The length of the image's decay changes from person to person according to the acuteness of his or her's eidetic memory.*Who is this Japanese guy? All the names look the same.Yukio Mishima was a prolific author that began writing when he was only 12 and wrote throughout his school education. He was a rampant consumer of fiction, works not just from his home country but the United States as well. As his writing developed, he became so admired by his teachers and mentors that his stories spread quickly throughout the japanese literary scene. He became a prominent figure at a very young age. He is considered a literary heavy-weight of japanese fiction and cast a shadow over his many successors. I would liken his pervasiveness to that of Hemingway or maybe Fitzgerald. This guy was a big deal. So much so that the author, Haruki Murakami, in his early career, resented him because he was revered so much in japan and abroad.So how's the writing?Well, Mishima began his writing career with saka which is the japanese form of poetry. His background in poetry becomes obvious within the first couple pages. I would love to learn about Mishima's style as it exists in japanese. The translator must have done some considerable work to render it in an english style that still mimicked the original while preserving the plot. Or maybe the work is completely different and I'm drawing false assumptions about it. Either way, the prose is a delight. As translated, it is a bit austere and old-fashioned, think 19th century british novels, but there was at least one line per page that excited and delighted me. I think that the main reason that it is so affecting is because he cherry picks the perfect minutiae and renders them minimal without sacrificing any visuals or content. There is a moment where a crowd of onlookers gather to witness an execution. Notice the attention to small details here:"We were observing the scene from the far end of a rice field. The number of spectators gradually increased and their shoulders touched each other silently in the night. Above our heads hung the moon as small as if it had been squeezed"(14).The lone detail of touching shoulders, is enough to conjure the image of a whole crowd bustling into a small area and cramming into one another but Mishima chooses not to lavish the book with unnecessary description. Instead he lays back and gives you just as much as you need. As far as the descriptions are concerned, Mishima's poetic and minimal sensibility shines throughout. He showcases Japan's Kyoto as beautiful, almost idyllic and idealized, but I would say that the lushness of the scenery is beautiful enough to make one want to visit the place. Where the book does not employ restraint however, is within the narrators interior monologue. There is a great deal of loquacious rambling and non-stop ranting from the mind of a severely neurotic individual. Mizoguchi, begins his slow descent into madness from page one and the march doesn't end until the apotheosis of the last couple pages.Wait, wait wait. What's this book even about?This is a first person story about a young man becoming a priest in the famous temple of the golden pavilion. As revealed throughout the story, you find out that his father was a priest before him, and on down the family. Mizoguchi is faced with continuing pressure from his peers, his mother and the legacy of his dead father to become a great priest. As the story moves along, you begin to find out what a damaged and outcasted kid he really is. He has a severe stutter that prevents him from most social interaction. Coupled with that, he has a great deal of social anxiety and spends a good portion of this book alone, wandering the streets of Kyoto, visitng brothels or catching his Superior living a life of luxury outside the circumscribed world of the temple. He has a lucrative and restrained relationship with his mentor, the Superior. Repeatedly, the mentor shows Mizoguchi the Buddhist virtue of mercy, despite all the havoc he wreaks on the temple and it's students.The entire book has a continuous momentum that propels it toward the end, where Mizoguchi is determined to enact a terrible deed on the temple and its people. Without spoiling anything, the conclusion, his sociopathic main objective, is not just portent of a disturbed mind, but is also a crucial element of the tragedy in the book. Mishima does very well to lead you down the path of calculated and perverse reasoning inside the mind of the main character, so when you reach the end, you don't approve of him but you feel for him nonetheless. Mishima has his own Humbert Humbert in this novel and it makes for a wrenching and powerful story.So why only four stars?This is a great book that I highly recommend to everyone. However, there are a few things that didn't sit right with me. First of all, there is always a culture barrier when reading books about different areas of the world. I am completely cognizant of my own western bias and attitudes, but there were many things that put me off. The general attitudes and sentiments conveyed by the characters and the authors seemed odd and backwards. But this is a case of me and not the book. Secondly, a major motif is the reoccurrence of images in the mind of the main character. There are many events that happen within the first 30 pages that get called back to over and over again throughout the novel. And these are not just specific events, they are specific images that are referenced and described ad nauseam. These images are implanted into Mizoguchi and literally come to cover up parts of his life later on. While this was thought-provoking and interesting in the beginning, it lost its effectiveness after a while, until it just became an annoyance. Putting all that aside, this is a book definitely worth reading. Mishima has quite the fanbase and for very good reasons.

  • Sinem A.
    2019-03-07 03:37

    sanırım mişima okumanın en güsel yanı; insan derinliklerine başka samimi ve lirik bakmak..

  • Özgür
    2019-02-26 09:38

    "... Müzik rüyaya benzeyen bir şey. Aynı zamanda da rüyanın tam zıddı bir şey, sıradan uyanık saatlerimizden farklı olarak özel bir bilinçlilik haline benziyor..."Yazma eylemlerinin içerisinde sanırım en kutsal olanı, geleneği, coğrafyası ve insan hissiyle etrafını saran tüm pencerelerden tarihi görüp anlatabilmektir. Mişima japon edebiyatında okuduğum ikinci yazar oldu. Kendisi hakkında daha önce hiçbir cümle okumamış olmama rağmen ( ki bu daha güzelleştirdi ) yazmış olduklarıyla, ellerimin arasında cümle cümle büyüyen anlatım zenginliğiyle, hem kendi zihnini keşfetmemi hem de yaşadığı florayı kusursuzca tanımamı sağladı.Baştan ayağa, içten dışa tabirlerinin yakıştığı ne kadar manevi yaklaşım varsa, yazarın sade, güçlü ve bir o kadar da derin anlatım gücüyle, sayfalar arasında bölüm bölüm sizi eşikten bir diğerine geçiriyor.Mişima, kaleminin içerisine; insanın en temel yaşam prensiplerinden olan “yolculuk” felsefesinin kodlarını sıkıştırmış gibi. Karakterini, aile, kendi iç dünyası ve fiziksel dünyevi açmazlarla boğuştururken, etrafındaki resmi genişletiyor ve sonra bunları görmesini sağlıyor.Roman’ın arka planında sinsi bir hastalık gibi ilerleyen, kendini sessizce kurgulayan, uygulayan ve tarihi değiştirmeye çalışan savaş boyutunun da en karanlık travmasını, gökyüzüne bile bakmaya korkan insanlardan anlıyoruz. Kitabın bir başka boyutu da Japon kültürü ve gelenekleri adına küçük temalarla büyük tarihi ve coğrafi yapıların anlatımı, yemek ve müzik kültürü adına bilgiler (enstrumanlar) verilmesi, mezhepler-inanışlar-keşişler-zen budizmi’nin tanımları anlamları, geleneksel sözler (sutralar) gibi kültürün de temele alınarak anlatılması, bambaşka bir pencereden değerlendirilmesi gerektiğini gösteriyor.Son olarak, kitabın tarihi, psikolojik ve edebi tüm kaygılarını bir kenara bırakıp ona bir yolculuk gibi bakmanın ve bu yolculuk esnasında yolda bulduğu tüm erdemleri heybesine atan küçük çocuğun, yüksek bir tepede insan olarak bu yolu sonlandırması demek sanırım beni mutlu edecektir. Saygılar.

  • Jeremy
    2019-02-21 05:45

    How wonderfully freaked out is this book? It's about a young, introverted zen priest who becomes obssessed with a six hundred year old temple to the exclusion of everything else in his life, and then decides it has to be burned down to the ground. And it actually happened! Mishima is just brilliant at sucking you into the world of Mizoguchi's damaged neurosis. And almost every paragraph has at least one mind-fuck brilliant observation about beauty, ugliness, love, obsession, destruction, what have you. It's not exactly a novel, and not exactly a treatise on aesthetics, but some delerious hybrid of both. I feel like this book is an example of the exact right author finding the exact right story.

  • Jackson Burnett
    2019-03-05 05:32

    Philosophy and art.Kink, death, and destruction.In 1968, Japanese author Yukio Mishima committed ritual suicide to protest the Westernization of his country.In 1950, Hayashi Yoken, a Buddhist monk, set fire to the ancient Zen temple called Kinkaku for reasons known only to him.Mishima provides a fictional retelling of Yoken's crime in The Temple of the Golden Pavilion. The novel is a favorite of mine, but it is not a book one actually likes.Mizoguchi, the fictional arsonist, tells his story, and readers spend the novel in Mizoguchi's head. While it can be a fascinating place, it is also one of severe isolation. Mizoguchi lives his early years in the rural area near with Sea of Japan. After his father's death, he becomes a Zen novice at the Temple of the Golden Pavilion. He becomes enchanted by its beauty. A stutterer, Mizoguchi never belongs and the individuality this causes prevents him from ever becoming a metaphor for anything larger than himself. All those to whom he has any authentic attachment perish.The power of the beauty of the Golden Temple ultimately becomes so overwhelming Mizoguchi believes it is eternal and wonders whether the continuity of life can endure in the presence of something that precedes all and is unmovable. Perhaps beauty can exist only if it is perishable. Perhaps art is only the expression of sexual desire.The publication of this book in 1956 must have been almost as subversive as the torching of the Golden Temple. The novel's kink list includes stalking, voyeurism, incest, cuckoldry, masturbation, sadism, oldster sex by subterfuge, adult breast feeding (almost), and prostitution. Mishima's ponderous philosophical ramblings must have intrigued those in the West for whom Zen and Eastern religions appeared radically new and exotic.The Temple of the Golden Pavilion is an episodic, philosophical novel. The story does not move fast, but is very carefully told. Mishima rarely describes a scene without a nuanced description of the quality of light. The book compels its readers to see the novel's shifting conundrums and puzzles in the brilliance of bright light and in the obscurity of shadows. The novel is a favorite of mine because it causes me to rethink and to perceive anew. Perhaps The Temple of the Golden Pavilion is truly a koan written as a novel.

  • Rowena
    2019-02-23 10:32

    “To be sure, there are times when the reality of the outer world seems to be waiting for me, folding its arms as it were, while I was struggling to free myself. But the reality that is waiting for me is not a fresh reality. When finally I reach the outer world after all my efforts, all that I find is a reality that has instantly changed colour and gone out of focus- a reality that has lost the freshness that I had considered fitting for myself, and that gives off a half-putrid odour."Mishima is such a great writer.His protagonist in this novel, Mizoguchi, is truly a sociopath; his creepy obsession with beauty, the Golden Pavilion in particular, threatens to consume him. He is very philosophical to the point of arrogance. All in all, a very well-written book.

  • Çağdaş T
    2019-03-16 06:38

    Kitaplara puan vermeyi daha çok kendim için yapıyorum. Geriye dönüp baktığımda ne kadar beğenmiştimi hatırlamak adına. Çoğu kitapta karşıma çıkan durum şu: Bittiği anda elinizden bırakıp rafına yerleştirdikten sonra hissettiklerinizle, belirli bir süre demlenmeye bırakıp yorumladığınızdaki düşünceleriniz oldukça farklı olabiliyor. Bu yüzden belki de kitapları puanlamamak çok daha doğru.Neyse efendim,kitabı okuyan arkadaşlarımla konuştukça, ilgili yorumları okudukça kitaba verdiğim 3 yıldızın haksızlık olduğunu düşündüm. Aslında ilk anda da 3 mü 4 mü versem diye kararsız kalmıştım. Üzerine düşünüp taşları oturttukça 4 yıldızı fazlasıyla hakettiğini düşünüyorum.Mişima mı ? Bereket Denizi...

  • Neli Krasimirova
    2019-03-14 04:47

    Gölge konuşabilseydi muhtemelen geceleri rüyamda "Altın köşk!" diye sayıkladığımı söylerdi. Bilahare toparlanmış editle dönmek üzere ayrılıyorum.Edit1: Mişima hakkında fikirlerine inanılmaz güvendiğim bir arkadaşım "Bir Maskenin İtirafları"nı okumadan karar vermemem gerektiğini söyledi. İşbu yorumu o kitabı okuduktan sonra tekrar editlemek üzere terkediyorum.

  • Beka Sukhitashvili
    2019-03-03 10:25

    34 რომანი აქვს დაწერილი და 2016 წელს ქართულ ენაზე მიშიმას პირველი რომანი ითარგმნა. კავაბატას, აბეს და მურაკამის გაცილებით ვწყალობთ, როგორ ჩანს. კაი, მთავარია რომ დავიწყეთ და იმედი მაქვს, მის ყველა მნიშვნელოვან ნაწარმოებს მაინც ვთარგმნით, თუ სულ ყველაფერს არა.ცეცხლწაკიდებული ოქროს ტაძარი ყველა ადამიანის სულში არსებობს. ადამიანი დესტრუქციული ცხოველია, უბრალოდ, ზოგჯერ ხელოვნების ილუზიასთან უძლური რჩება ხოლმე. საინტერესოა, რომ ქართველების დამოკიდებულება კულტურული ძეგლების მიმართ, თითქმის მიძოგუჩის მსგავსია. "თითქმის" არა, უფრო უარესადაც. ერთი სული გვაქვს გავანადგურეთ ყველაფერი, რაც ნამდვილი დაგვრჩენია. ცნობიერება თუ ქმედება? ორივე ერთად, რაც შეიძლება გაწელილი ყოფიერებით.

  • Hulyacln
    2019-02-22 03:31

    Güzellik kavramı,varoluş sancıları ve yine muazzam tasvirler..özellikle Mişima’nın “erkekleri” yine ön planda.Uzun bir alıntı da yapalım:“Sözgelimi,güzellik çürük dişe benzer.Dilin sürekli oraya gider,diline takılır durur,ağrır,illaki varlığını hissettirir,Nihayet ağrıya dayanamaz hale gelince diş hekimine gider çektirirsin.Kana bulanmış,küçük,kahverengi,kirli dişi avucunun içine alıp bakar ve şunları demez misin acaba?’Bu muymuş?Böyle bir şey miymiş?Bana acı veren,bana durmadan kendi varlığını dayatan,böylece içimde inatçı bir şekilde kök salan şey,artık ölü bir maddeden başka bir şey değilsin.”

  • John
    2019-03-16 08:36

    Yukio Mishima's The Temple of the Golden Pavilion is a meditation on the relationship between words and action, beauty and ugliness, and Being and nothingness. In this book, which is one of Mishima's best novels, these themes are treated with considerable patience and depth, giving readers great insight into the philosophical issues that preoccupied Mishima for the entirety of his writing career; all the way up to his own ritual suicide by seppuku in 1970. The plot of the story concerns a Japanese college student, named Mizoguchi, who serves as an acolyte at a Zen Buddhist temple in Kyoto during and shortly after World War II. Mizoguchi is a stutterer; a disability that is symbolic of his separation from the world around him. He is preoccupied with the incongruity that exists between his own inner, subjective experience, and the world that exists beyond his subjectivity. He is alienated from everything and everyone outside of himself, feeling alone and misunderstood until he becomes friends with Kashiwagi, a club-footed student who attends the same college. Mizoguchi's friendship with Kashiwagi pushes Mizoguchi to confront his own alienation and to finally overcome it through an act of destruction: the torching of the Temple of the Golden Pavilion. The Temple of the Golden Pavilion represents the impossibility of all abstract notions of idealized perfection. When Misoguchi was a child, his father described the Golden Temple to him as the most beautiful thing on earth. This description, which resides only in the mind, set a criterion against which the actual, concrete temple was doomed to fall short once Misoguchi was finally to see it in actuality. His disappointment with the appearance of the actual temple provoked a desire to explore further, to look harder, and to expend more effort in order to discover what he had missed. Misoguchi is not satisfied with only the ideal of perfection; he wants to see that idea reflected in the world of objective reality. His frustration with this quest comes to an end only when he discovers the logic of destruction and nothingness. The beauty of the Golden Temple rests in its lifelessness. Living things, like humans, cannot be truly beautiful since they lack the quality of being eternal and "rigid." Beauty is infinite, and so nothing finite can be absolutely beautiful. The Temple, then, is only beautiful to the degree that it exemplifies a timeless ideal. Yet, the materials out of which the Temple was constructed are subject to decay. These physical materials -- the timbers and the gold foil, the nails and the planks -- provide a medium through which the eternal may speak, but they also hold back the infinite by binding it to something that is itself finite. This was the source of Misoguchi's disappointment upon first seeing the Golden Temple, and he comes to realize that it is only through destruction of the physical manifestation of the Temple that it's essence can be liberated and finally achieve immortality. The theme of nihilism permeates the entirety of this novel, as it does all of Mishima's work. In one of his other, non-fiction books, titled Sun and Steel, Mishima explicitly applauds the kind of nihilism that Nietzsche called "active nihilism," which strikes out at the void in order to create, destroy and act. The character Misoguchi is an exemplar of just this sort of nihilistic impulse. His only other option would be passive acquiescence to reality as it exists in a fractured condition stretched between the real and the ideal. In the destruction of the physical Temple, he symbolically eradicates his slavery to the real, and thus frees himself to dive into the flow of life, regardless of its imperfections. My personal feeling is that while Misoguchi's act of rebellion in The Temple of the Golden Pavilion may be emotionally cathartic, metaphysically it changes nothing. Ideals are inescapable for human existence, and though they may cause us distress insofar as we inevitably fall short of their absolute standards, they also spur us on toward the goals and projects that make life worth living. Nihilism, in my view, is not something to be overcome, but something that is part of the human condition. To overcome nihilism is either to die or to become something other than a human.

  • ArturoBelano
    2019-02-23 06:27

    Yukio Mişima hep bir gün sırası gelecek olan yazarlardan biriydi benim için ve bir türlü sırası gelmeyenlerden. Herkesin vardır böyle yazarları, kesin okuyacağım deyip bir türlü başlamadıkları. Kısmet bugüneymiş. okuma grubumuzun bu ay okuyacağı iki kitaptan biriydi Altın Köşk Tapınağı, yoksa ben Mişima’ya buradan başlamayı hiç düşünmemiştim. Ben genelde büyük yazarların en bilinen, en temel denilen eserleri ile başlarım okumalarıma, oradan diğer eserlerine geçer, dertlerinin izini sürerim. Bu tarz bir okumanın metni çözümlemede az ekmeğini yemedim. Neyse buradan başladık, atladığım hususlar muhakkak olmuştur, ileride dönmek zorunda da kalabilirim bu esere, şimdilik ilk elden şunu diyeyim çok iyi bir kitaptı, öneren arkadaşa teşekkür ederim.Evvela Mişima’nın dili ve gözlem gücünü çok beğendim. İnsanın gün yüzünü çıkmamış, belki kendi içinde dahi dile getiremediği arızalı halleri onun kaleminde billurlaşıp önünüze seriliyor. Adeta bir röntgenci edasıyla çizdiği karakterin derinliklerinden taşan karanlığı okurken kendinizi “ bunu ben de düşünmüştüm” derken yakalıyorsunuz. Diğer eserleri nasıl çevrildi bilmiyorum ancak bu çok iyiydi, Ali Volkan Erdemir güzel bir iş çıkarmış. Gelelim bol spoiler içeren kısma;Yukio Mişima Lacan okumuş mudur ya da Lacangil kavramlardan haberdar mıdır bilmiyorum ancak Mizoguçinin “mutlu son” ile biten hikayesini buradan okumanın işlevsel olacağını düşünüyorum.“ Dünyanın bir yerlerinde beni bekleyen, henüz benim kendimin bile bilmediği bir görevim olduğu hissine kapılıyordum”Budist bir keşişin oğlu olan Mizoguçi’nin dilsel ve duygusal kekemeliği (Gün gibi açıktı durum. Duygularımda da kekemelik vardı. Duygularım da hiçbir zaman zamanında yetişemiyordu.) dışında esas “sakatlığı” babanın adı, babanın yasası tarafından iğdiş edilmiş olmasındadır. Küçüklüğünden itibaren babasının büyük övgü ile bahsettiği, dünyada ondan güzel bir şey olamaz dediği Altın köşk Tapınağı’nın halesi ile büyülenmiştir. Kendisi ne kadar çirkin, ne kadar değersiz ise Altın Tapınak tam tersi bütün güzelliklerin kendinde vücut bulduğu merkezdir. Kitap boyunca etkisini hissedeceğimiz Uiko’ nun yoluna çıktığında belki başka yere evrilecek kaderi, eyleminin kadük kalması sonucunda boşa düşmüş ve mizoguçi’nin öznelliğinin üstü en başından babanın yasası tarafından çizilerek büyük ötekinin arzusu, o ulaşılamaz parça öznelliğinin hakikat yanılsaması olmuştur.Altın Köşk Tapınağı ile ilk karşılaşması babanın ölümünden sonra tapınağa baş keşiş yardımcısı olarak gitmesi ile olur ve Tapınağın gerçekliği en başta bir hayal kırıklığı yaratır. Beklediği güzellikten eser yoktur, ancak baba ölse de babalar, yasalar ve tanrılar dünyası iç dünyasında dimdik ayaktadır. Olmayan güzellik tekrar keşfedilir. Bu keşifte tek arkadaşı Tsurugava’nın da payı muhakkak. Tapınak tekrar halesine kavuşmuştur, savaş ve yıkım tehdidi onu daha da güzelleştirir." Bir gün gelecek ve sana ben hükmedeceğim. Bir daha asla yoluma çıkamayacağın şekilde "David Lynch’in Kayıp Otoban’ının izleyenler hatırlar, yaptığı eylemin ağırlığını kaldıramayan baş karakter yarattığı fantazmatik dünyada da istediğine ulaşamaz ve filmin sonlarında seviştiği kadın “bana asla sahip olamazsın” der ve fantezi dünyası çöker. Bir gün baş keşiş olmayı umduğu tapınağa dair fantezileri bir anda çökmez Mizoguçi’nin. Tsurugava’nın ölümü, baş keşişin geyşaları, annesinin sinsi gözleri, kaşivaganın yumru ayakları, tekmelediği kadın, okulu asmaları, göl kenarları ve elbette kadınlar.” Kadınlarla aramda, yaşamla aramda değişmez bir şekilde Altın Tapınak beliriyordu.”“elin parmaklarıyla sonsuzluğa dokunup diğeriyle yaşama dokunmak olanaksızdı”Altın Tapınak büyüdükçe karşısında ezilen Mizoguçi’nin üstü çizilmiş öznelliğinin, “sakat”lığının fakına vardığı an, gündelik hayatın basit mutluluklarından, mutsuzluklarından dışlandığını görmesi ile mümkün olur. “ Yine orada altın tapınak göründü.daha doğrusu meme, altın tapınaka dönüştü.” Nefretten başka bir duygu tanımayan, annesine umutlu diye düşman kesilen, anlaşılmamayı meziyet sanan bakir karakterimizin ilk küçük “mutluluk” anlarını “Altın tapınakı yakmalıyım” fikrine ulaştıktan sonra görüyoruz. Bu kararı aldığı yeri anlatırken “burada kendi kendime yetiyordum. Burada hiçbir şey tarafından tehdit edilmiyordum.” diye belirtmesini de önemli görüyorum.“ Çünkü baş keşişi öldürsem de onun keşiş tıraşı edilmiş kafası, acizlikten oluşan kötülüğü, karanlık bir ufuktan sonsuza dek tekrar tekrar görünecekti.”Tapınağa zorunlu dönüşünün ardından yakma yerine baş keşişi öldürme fikrine kapılsa da “doğru yolu” tekrar bulacaktır. Burada Badiou’nun hakikat kavramının bir sağlamasını da görmek mümkün. Badiou Varlık ve Olay kitabında hakikat ancak mevcut durumdan, düzenden, rutinden radikal bir kopuş neticesinde zuhur edebilir diyordu. Bireyin, özne olabilmesi için işte bu radikal kopuşa sebep olan olaya bağlılık göstermesi ile mümkündür. Keşişin ölümü karanlık bir ufukta tekrar tekrar görünecekse eğer mizoguçi özgürleşmek için ilk kararında ısrar etmelidir. “Baş keşişe duyduğum nefreti unutmuştum. Annemden de arkadaşlarımdan da her şeyden özgür kalmıştım.” Artık Altın Tapınağın gölgesi vurmadan bir kadının memelerine bakacaktır Mizoguçi ( meme deyip geçmeyin, kitapta önemli yer tutuyor)Babanın hayırından özgürleşmek yasanın ihlali ile mümkün olsa da yasalar sadece dıştan gelmez, biz onları zaten çoktan içselleştirmişizdir. Mizoguçi’de bundan muaf değil ve tam eyleminin ortasında kısa bir tereddüt anı yaşar, kararını sorgular ve ancak çıkışı yine Zen Budizminin içinde bulur.Rinsaroku kitabındaki şu pasaj elinden tutar; “Buda’yla karşılaştığında Buda’yı öldür, atanla karşılaştığında atanı öldür,Buda’nın müridiyle karşılaştığında müridi öldür… işte ancak o zaman kurtuluşa erersin..” Özgürleşme kişinin kendini tutsak eden yasa ve kurumları işlevsiz kılması ile mümkündür bu yoruma göre ancak yetmez, sahip olduğu her şeyi de o ateşin içinde yakacaktır Mizoguçi.Ve geldik mutlu sona; eylemin ve kitabın sonunda Mizoguçi’yi sigara içerken görürüz; “bir işi yapıp bitirdikten sonra sigara içen erkeklerin yaptığı gibi. Yaşamak istiyordum”

  • Laau
    2019-03-17 05:29

    Mishima, ay Mishima.Cuántas veces me habré empezado "Confesiones de una máscara", sólo para volver a abandonarlo en el primer capítulo. Cuantísimo me ha costado leer "El Pabellón de Oro", para al final terminarlo por obligación, no por gusto. La pelea interna que tengo con este escritor es INTENSA. ¿Tendrá que ver con su excentricidad? ¿Con sus pesadas descripciones? ¿Con la pobreza de las traducciones al español de sus obras? ¿O será que conozco demasiado de su vida como para poder simpatizar con su persona?No soy fan de Mishima, para nada. Estudiarle en literatura me hizo no querer leer nada de su obra. Su ideología y la mía chocan de frente. Aun así, quise darle una oportunidad, hará dos años, con su novela "Confesiones de una máscara". Me llamaba la atención, ya que, supuestamente, es una obra confesional, donde el autor se esconde tras el protagonista, el cual es homosexual. ¿Intentaba Mishima dar a conocer su orientación sexual con esta historia? Mi curiosidad me hizo empezarla, y nunca llegué al segundo capítulo. Pesada. Horrible. No me gustaba nada. Así que podéis imaginar mi cara cuando, en literatura contemporánea, me mandan como lectura obligatoria "El Pabellón de Oro". Un poema.Hablando un poquito de la obra, los personajes de Mishima siguen el mismo patrón en toda su producción literaria: problemas familiares, traumas profundos desde la infancia, odio hacia sí mismos y una personalidad obsesiva. Evidentemente, Mizoguchi no iba a ser una excepción. Mizoguchi representa al bonzo que quemó el famosísimo Kinkakuji, el pabellón budista dorado, considerada tesoro nacional. Evidentemente, Mishima, tan excéntrico como es, tenía que coger a este personaje histórico y psicoanalizarlo, para así escribir una obra de ficción con su vida como base, tratando de dar una razón y una explicación a tan abominable acto.El principio es PESADO. No hay otra manera de describirlo. Explicaciones infinitas, frases tan largas que hacen que te pierdas, personajes fugaces, que aparecen dos veces y no vuelven a ser mencionados. Parte de esto, he de decir, seguramente tenga que ver con que la traducción de obras japonesas en España es vergonzosa, siempre tergiversando y modificando el estilo del autor y el mensaje de la obra. El odio del protagonista a su madre, la indiferencia hacia su padre, la obsesión con el Pabellón... Es un libro psicológico al 100%, escrito para tratar de buscar una explicación a este hecho histórico. Un libro de obsesión, de odio (a los demás y a uno mismo), de frustración sexual y, al final, de ¿salvación? Depende un poco del lector. En mi opinión, no creo que una persona como Mizoguchi, tan atormentado como está desde niño, llegue a ese alivio en su vida.No tengo mucho más que decir, porque creo que la sensación que te provoca la historia al leerla no puede ser descrita. ¿Pena? ¿Odio? ¿Alivio? ¿Frustración? No encuentro palabra que pueda definirla. Lo que sí voy a decir, es que no es tan horrible como me esperaba, no me ha exasperado tantísimo. De hecho, me han dado ganas de darle otra oportunidad a "Confesiones de una máscara" gracias a éste libro (a pesar de lo quejica que he sido durante toda la review).Así que, Mishima, nos veremos las caras (cuando me recupere de esta novela).

  • Chris
    2019-03-15 09:38

    Mishima is one of the most famous modern Japanese writers and, near as I can tell, a complete nutjob. Or was, anyway. He killed himself by seppuku back in 1970.Kinkakuji is one of his most famous works, and I chose it as a first entry into Mishima because I love reading books set in Kyoto and, well, I've been to Kinkakuji a few times.My reaction upon seeing it was a lot like the main character's - disappointment. In the book, a young Mizuguchi is told by his father that the Golden Temple is the most beautiful thing in the world, and so the child - who secretly despises beautiful things - has an idealized vision of it in his mind. And, as we all know, the idealized vision never quite holds up to the reality.The real Kinkakuji is nice, yes, but not quite as nice as you thought it would be. Or at least, not as nice as I thought it would be. I rather prefer the Silver Pavillion - not quite as ostentatious.Anyway, young Mizuguchi, a recluse, a stutterer, becomes as acolyte at Kinkakuji when his father dies. And thus begins a bizarre love-hate obsession with the temple that ends in flames....There's a lot of philosophy in this book. Discussion of What Beauty Is and what we should do with it. Long talks about the transitory nature of human life and the eternity of structure and.... I'm not sure. I was reading a lot of this on the plane, and trying not to kill some small children with the power of my mind.Mishima is one of those authors I want to know more about, though. He's thoughtful and creative, a very good example of post-war Japanese angst, and definitely had a lot of big ideas that he wanted to get out. He gathered a kind of cult following and shocked the nation with his suicide. This is a book that'll take a few re-reads, I think.

  • Junta
    2019-03-20 04:40

    There were some interesting philosophical soliloquies and conversations about beauty, identity, life and death, but the story threw me off a little with its pacing. The characters were quite unique, although in a collectively depressing and/or contrived manner. Mizoguchi, a stuttering sociopath, brought the protagonists of Dostoyevsky's Notes from Underground and The Double to my mind....My appearance may be poor, but in this way my inner world was richer than anyone else's. Isn't it natural for a boy with a handicap that cannot very well be dismissed, to think that they are secretly the chosen one? I felt that somewhere in the world, there was a mission I was yet unaware of that awaited me.I hope Mishima's other stories will click with me more (there are nine other stories in his 'Collected Works' [published in 1966, now in my room 50 years later!] I read from) - although I wasn't dazzled, I certainly want to read more by him now. An original style.I found the second half a little tedious but I remembered liking the writing in the first few chapters, and there were several memorable quotes. A powerful character who leaves an impression (perhaps more than Mizoguchi) is his clubfooted friend, Kashiwagi - his handicap is much more noticeable than Mizoguchi's, but he's confident, sly and perceptive, knowing what he wants and how he can achieve them. A cool-headed, club-footed asshole.(Photo taken November 2013)

  • Jules
    2019-03-16 03:38

    Un monje budista zen aspira a la iluminación a través de la contemplación, inhibir las emociones, la no acción y la apertura al conocimiento. Mishima nos muestra un monje furioso, envidioso, carcomido por la soledad y la frialdad, y obsesionado con la belleza. Dispuesto a la autodestrucción y a destruir para sentirse vivo, deseoso de acción.

  • Nick
    2019-03-01 06:36

    This book is one of the most singularly moving works that I've ever read in my life.

  • Meltem SAGLAM
    2019-03-14 11:45

    "Yaşamımda karşıma çıkan ilk gerçek problemin güzellik kavramı olduğunu söylersem abartmış olmam", sayfa 27.Olağanüstü, harika!

  • Philippe Malzieu
    2019-03-24 06:38

    When I went in Kyoto the first thing that I made is to go to see the Temple of the Golden Pavilion. I was not disappointed. When one it way leads to the clearing, its presence is supernatural. The beauty is effectly insupportable. he book is inspired by a true story. A young bonze set fire to the temple in 1950 and has then tried to commit suicide. In the book, the youg man finds the Temple's beauty so exceptional, so superhuman, he can only destroy it. Writing is splendid, there is a progression which makes that indeed the bonze must destroy the temple. His approach is understood.To visit Kyoto, I had taken a guide. She explained to me that the act of the bonze was especially guided by socialist reason. That broke the charm.

  • Andrea
    2019-03-11 11:51

    Dramatic and poignant, like Mishima himself. I have a few issues with this translation, which seems a bit wooden sometimes, and several typos in this particular edition.

  • Margarida
    2019-03-08 11:48

    Mishima baseia-se num evento real para, através de um poderoso e obsessivo monólogo de um personagem neurótico, Mizoguchi, um noviço zen no Templo Dourado, dissecar sobre Beleza, religião, aborto, prostituição. Em alguns momentos, achei o livro aborrecido, pesado, pela densidade e lentidão da prosa; um romance psicológico, sobre traumas e obsessões, sobre a vida, a morte, a Beleza e a Fealdade. Terei de o ler de novo, porque é um grande livro, mas a digerir devagar.

  • Rafael Montenegro-Fausto
    2019-03-21 08:36

    00%: pavilhão dourado [Kinkakuji]- 1956 - MISHIMA: "Ela rejeitara este mundo uma vez para voltar a aceitá-lo em seguida já naquele trágico incidente. Talvez a morte fosse para ela nada mais que um incidente passageiro. Seu sangue derramado na galeria do Kongo-In quiçá fosse para ela algo como o pó caído das asas de uma mariposa sobre o vitral da janela onde pousara, ao partir voando no instante em que a janela fora aberta de manhã." (p242)

  • Lada Fleur
    2019-03-14 03:38

    beauty secret and its consequence. Pure interiority vs.appearance. Power over exterior of things The novel is captivating as beauty is. It is subject to manipulation. It is so Japanese and world treasure at the same time. Pre philosophy and pure art. Unforgettable