Mishima Yukio’s Modern Noh Play Sotoba Komachi: Nietzsche’s Influence and the Ideal Post-war Artist
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The medieval Noh 能 play Sotoba Komachi 卒塔婆小町 educates its audience about the Buddhist concept of ichinyokan 一如観 by staging a series of conflicting concepts and then resolving them. Mishima Yukio’s 三島由紀夫 modern Noh play of the same name removes the Buddhist coloring from ichinyokan to depict a reversal of contradictory ideas. This reversal reveals Mishima’s artistic worldview that emerged from his personal experiences as a writer in a society devastated by defeat in war. Mishima’s perceptions of art and the artist were influenced by Nietzsche’s The Birth of Tragedy, especially the idea that art is the realization of conflict, but also contains complementary Dionysian and Apollonian elements; I argue that Mishima learned of dualism through the dualism of Nietzsche, and that afterdiscovering this dualism in the original Sotoba Komachi, he exploited it in his modern version
Abstract
The medieval Noh 能 play Sotoba Komachi 卒塔婆小町 educates its audience about the Buddhist concept of ichinyokan 一如観 by staging a series of conflicting concepts and then resolving them. Mishima Yukio’s 三島由紀夫 modern Noh play of the same name removes the Buddhist coloring from ichinyokan to depict a reversal of contradictory ideas. This reversal reveals Mishima’s artistic worldview that emerged from his personal experiences as a writer in a society devastated by defeat in war. Mishima’s perceptions of art and the artist were influenced by Nietzsche’s The Birth of Tragedy, especially the idea that art is the realization of conflict, but also contains complementary Dionysian and Apollonian elements; I argue that Mishima learned of dualism through the dualism of Nietzsche, and that afterdiscovering this dualism in the original Sotoba Komachi, he exploited itin his modern version
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