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Count Ayakura’s abstraction persisted. He believed that only a vulgar mentality was willing to acknowledge the possibility of catastrophe. He felt th… - Yukio Mishima
" "Count Ayakura’s abstraction persisted. He believed that only a vulgar mentality was willing to acknowledge the possibility of catastrophe. He felt that taking naps was much more beneficial than confronting catastrophes. However precipitous the future might seem, he learned from the game of kemari that the ball must always come down. There was no call for consternation. Grief and rage, along with other outbursts of passion, were mistakes easily committed by a mind lacking in refinement. And the Count was certainly not a man who lacked refinement.
Just let matters slide. How much better to accept each sweet drop of the honey that was Time, than to stoop to the vulgarity latent in every decision. However grave the matter at hand might be, if one neglected it for long enough, the act of neglect itself would begin to affect the situation, and someone else would emerge as an ally. Such was Count Ayakura’s version of political theory.
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About Yukio Mishima
Yukio Mishima (January 14, 1925 – November 25, 1970) was the pen name of Kimitake Hiraoka, a Japanese author, poet, playwright, actor, model, film director, nationalist, and founder of the Tatenokai.
Biography information from Wikiquote
Also Known As
Pen Names:
榊山保
•
三島由紀夫
Native Name:
三島 由紀夫
•
平岡 公威
Alternative Names:
Mishima Yukio
•
Kimitake Hiraoka
•
Hiraoka Kimitake
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Additional quotes by Yukio Mishima
A feeling of liberation should contain a bracing feeling of negation, in which liberation itself is not negated. In the moment a captive lion steps out of his cage, he possesses a wider world than the lion who has known only the wilds. While he was in captivity, there were only two worlds to him; the world of the cage, and the world outside the cage. Now he is free. He roars. He attacks people. He eats them. yet he is not satisfied, for there is no third world that is neither the world of the cage nor the world outside the cage. Etsuko however, had in her heart not the slightest interest in these matters. Her soul knew nothing but affirmation.
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In its essence, any art that relies on words makes use of their ability to eat away — of their corrosive function — just as etching depends on the corrosive power of nitric acid. Yet the simile is not accurate enough; for the copper and the nitric acid used in etching are on a par with each other, both being extracted from nature, while the relation of words to reality is not that of the acid to the plate. Words are a medium that reduces reality to abstraction for transmission to our reason, and in their power to corrode reality inevitably lurks the danger that the words themselves will be corroded too. It might be more appropriate, in fact, to liken their action to that of excess stomach fluids that digest and gradually eat away the stomach itself.
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