This is the first of four correlative books delivered to his
publisher before Mishima's striking suicide, far more gravid with
various transcultural and political and psychic implications than
the young man's anticipation here of a "graceful death - as a
richly patterned kimono, thrown carelessly across a polished
table." But then this is also much more overt and less arcane than
any of the earlier Mishima novels with their stylized, ritualized
schema; it is actually a very traditional work taking place in a
more traditional time (1912) - a novel of a great house in the
grand style albeit a westernized one (English china, table manners
and billiards) which would cause some of the divisiveness in the
later Mishima. Against this formal, elegant background, Kiyoaki, of
an old samurai family (but not so old as that of the young woman
with whom he falls in love - acknowledged by 27 generations of the
Imperial family) grows up; Kiyoaki will represent the perfect
synthesis between the aristocratic and the military but somehow he
is unequal to his destiny. His is a contrary and fretful
sensibility, diffident and dreamy, and during his late adolescent
years he is not able to commit himself to Satoko, an ivory doll
beauty. It will be his more composed and rationalistic friend Honda
who will explain his conflict - again the conflict of the book; now
that the era of glorious wars have ended, the young face a still
more difficult "war of emotion." During this time of irresolution,
Satoko is chosen by the Imperial family to marry a Prince: this
decision sharpens Kiyoaki's romantic drive toward her; they meet
furtively; she becomes pregnant and finally gets herself to a
nunnery. Mishima's novel begins slowly but picks up momentum in the
second half along with episodes of sly humor as well as the tragedy
of its finale. Mishima said of it "I have put into it everything I
have felt and thought about life and this world." Thus if he
appears, as he always has, in the guise of his central character,
it is on more explicit, representational terms than he has hitherto
chosen. (Kirkus Reviews)
Tokyo, 1912. The closed world of the ancient aristocracy is being
breached for the first time by outsiders - rich provincial
families, a new and powerful political and social elite. Kiyoaki
has been raised among the elegant Ayakura family - members of the
waning aristocracy - but he is not one of them. Coming of age, he
is caught up in the tensions between old and new, and his feelings
for the exquisite, spirited Satoko, observed from the sidelines by
his devoted friend Honda. When Satoko is engaged to a royal prince,
Kiyoaki realises the magnitude of his passion.
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