The original text of Yukio Mishima in the Golden Pavilion

I'm Sammy Mizoguchi, and I've stuttered since I was a child. I am ugly and sick. I am the son of the abbot of Cape Temple in a remote area. The family is poor, and when they grow up, they will become monks. The inferiority and loneliness caused by physical defects and poverty have been stationed in my young mind. Many times I feel desperate and hate the whole society. I hope all the people will die and the world will be destroyed. My only comfort and yearning is the Golden Pavilion Temple that my father told me since I was a child. According to him, there is nothing more beautiful in the world than the Golden Pavilion Temple. The beauty of the imaginary Golden Pavilion Temple made me forget the ugliness of the world. Finally, my father took me to Kyoto, where I met the Golden Pavilion Temple. The real scene disappointed me. Jingu Temple doesn't look beautiful at all. When the war broke out, I silently prayed that my ugly self and the ugly Jingu Temple were destroyed by the war, and perhaps the true essence of beauty existed on the other side. However, after the disaster of the war, Jingu Temple stood unscathed, and people and things around it exposed the false truth and became twice as ugly, which I couldn't stand anymore. After careful preparation, I burned down Jingu Temple and prepared to die with it. But at the last minute, I changed my mind and fled the fire, determined to live tenaciously.

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I opened the west gate to Shuqing Pavilion. As mentioned above, this kind of door leaf is separated from the inside to the left and right. The sky on a rainy night is brighter than in the golden pavilion. The damp door absorbs the low and light rolling sound and introduces the dark blue night air filled with the breeze.

"Iraqi eyes, Iraqi eyes." When I jumped out of the door and ran back to the back of the college, I continued to think, "All actions must be carried out in front of those eyes. In front of the dead witness who can't see anything ... "

Later, I did my mechanical homework. I moved the luggage piled up at the back door of the college to a statue of a man in the golden pavilion four times. The first thing to move is to remove the mosquito net and mattress from the hook. Then two quilts, then suitcases and crates, and then three bundles of straw. I piled these things together at random and put three bundles of straw between the mosquito net and the quilt. Mosquito nets are the easiest to catch fire, so I spread them on half of other luggage.

Finally, I went back to the back of the college, picked up the package wrapped in nonflammable materials, and headed for Chi Pan at the east end of the Golden Pavilion. There you can see the rowing stones in the center of the pool. The shade of several pine trees there can barely shelter from the rain.

The pool surface reflects the slight whitening of the night sky. It is covered with algae, just like a piece of land. Only through the tiny gaps scattered by the stars can we know where the water is. Rain won't ripple here. The drizzle is like smoke, the water vapor is falling, and the pool seems to be infinitely expanding.

I kicked a pebble under my feet into the water. The sound of water is so loud that it seems to shatter the air around me. I huddled up and did not move. I want to use this silence to eliminate the unexpected noise I just caused.

I put my hand into the water, and warm algae wrapped around my hand. I'll first slide the hook of the mosquito net off my hand soaked in water. Then slide the ashtray down like washing things. Then, sink the glass and ink bottle into the water in the same way. Everything that should have sunk has sunk. I only have cushions and wrapping paper around these utensils. Finally, I brought these two things to the statue of Iman, and finally I was waiting for the ignition.

At this time, I suddenly felt an appetite, which was in line with my original expectations, but it made me feel betrayed. The leftover fruit bread and glutinous rice cake with bean paste that I ate yesterday are all in my pocket. I wiped my wet hands with the hem of my work clothes and ate greedily. But I don't know what it smells like. The taste is another matter, my stomach is growling, so I quickly stuffed the snacks into my mouth. I was in a hurry, and my chest was beating violently. Very not easy to swallow, scooped up water to drink a few mouthfuls.

..... I am at a moment when I am only one step away from action. The long-term preparations leading to the action have all been completed, and I am at the forefront of preparation, just waiting to jump. As long as you make a little effort, you can easily achieve the action.

I never dreamed that the huge abyss between the two would devour my career.

Because at this time, I want to say my final farewell, just looking at the gum kuo restaurant.

In the darkness of rainy night, the golden pavilion is hazy and its outline is erratic. It stands in the dark, like a crystal at night. Looking intently, I can barely see the structure at the top of the third floor, the slender cylindrical forests and tidal caves in Shui Yuan. These details, which once moved me deeply, have now completely melted into the same color darkness.

With the enhancement of my good memory, this darkness has become the foundation, and I can draw illusions on it at will. In this crouching dark form, the whole picture of beauty and thinking is hidden. With the power of memory, beautiful details flash out one by one in the dark and spread. Finally, under the magical time of neither day nor night, the Golden Pavilion gradually became something clearly visible. The golden pavilion never flashed in every corner, and suddenly appeared in front of my eyes with such a complete and exquisite gesture. I seem to take the sight of the blind as my own. From the outside, people can also clearly see the fairy play patterns in Chaozhou Cave and the mottled old gold foil fragments on the top wall. The exquisite appearance of the golden pavilion blends in with its interior. My eyes can see the clear outline of its structure and theme, the detailed repetition and modification of the specific details of the theme, the effect of contrast and symmetry and so on. There are subtle differences between the second floor of Fashui Temple and Yin Chao Cave. Nevertheless, they are still under the protection of the same boudoir, that is, a pair of similar dreams and a pair of similar happiness commemorations overlap. If it is only one of them, it will be easy to forget and understand from top to bottom, so dreams become reality and happiness becomes architecture. However, the third floor was suddenly given a reduced shape, and the once understood reality collapsed. It was summarized by the superb philosophy of that dark and glorious era, and even succumbed to this generalization. So the roof repaired with fine wood stands tall, and golden phoenix is connected with the long night of ignorance.

Architects are still not satisfied with this. He also set up a small and exquisite gargle pavilion shaped like a fishing hall on the west side of Fa Shui Yuan. As if to break the balance, he gambled on all the power of beauty. For this building, Shu Qingge is anti-metaphysics. Although it is by no means a long stretch to the surface of the pool, it seems to escape from the center of the golden pavilion to anywhere. Shuqingge, like a bird spreading its wings, is now spreading its wings and fleeing from this building to the pool surface and everything in the world today. This means that it is a bridge from the prescribed world order to the non-prescribed things, and may even be a transition to functionality. That's right. The monster in the Golden Pavilion started from Shuqing Pavilion, which looks like half a bridge, completed the three-story pavilion, and then escaped from the bridge. Why? Because the great power of various faculties floating on the surface of the pool water is the source of potential power for building a golden pavilion, after the complete establishment of order and the completion of the beautiful three-story pavilion, this power can no longer stand living here, so it has to follow Shu Qingge to the surface of the pool water again, to the boundless faculties, and to escape to his hometown. There is no other way. This is a question that I often think about. Whenever I look at the morning fog and evening fog that pervades the Jinghu Lake pool, I feel that there is great functional power to build the Golden Pavilion.

Thus, beauty summed up the disputes, contradictions and coordination of all parts and ruled it! It is a building built with clay gold in the long night of ignorance, just like the Beijing copied word by word in the Deep Blue Album. However, I don't know whether beauty is the golden pavilion itself or something of the same nature as the virtual jathyapple shrouded in the golden pavilion! Or both are beautiful. Beauty is both a detail and a whole; It is not only the golden pavilion, but also the night that hangs over it. At this thought, the beauty of the golden pavilion that once troubled me in the past is insoluble, as if it had been half solved. Why? Because if we look at the beauty of its details, such as its columns, railings, shutters, doors, lattice windows, treasure-shaped roofs, its water courtyard, tidal caves, ceilings, washing booths, the projection of the pool surface, the island in the middle of the pool, pine trees and even rowing stones, we will know that beauty never ends with its details, but with its parts, but with any part. The beauty of detail itself is full of uneasiness. Although it dreamed of perfection, it did not know the end, and it was instigated to pursue another kind of beauty, the unknown beauty. As a result, omens and omens are linked, one after another, and the beautiful omens that do not exist here form the theme of the Golden Pavilion. This omen turned out to be a sign of nothingness. Nothing, this beautiful structure. When the beauty of these details is unfinished, each one contains a sign of nothingness. This building, with a fine and exquisite wooden structure, is like a circle floating in the wind, trembling in a premonition of nothingness.

Nevertheless, the beauty of the Golden Pavilion never stops! Its beauty always echoes somewhere. I am like a person with tinnitus. I'm used to hearing the wonderful echoes of the golden pavilion everywhere. Taking sound as a metaphor, this building is like a small golden bell or sogeum, which has been ringing for more than five centuries. If their voices are interrupted ...

..... I was troubled by unbearable fatigue.

The dreamlike golden pavilion is still clearly visible above the gloomy golden pavilion. Its glory has no end. The attack on Chi Pan and Shui Yuan has indeed been restrained. Under the eaves, the tidal hole railing supported by Tianzhu elbow wood easily tilted his chest to the pool surface in his dream. The eaves are very bright under the reflection of the pool surface, and the ripples of water waves make the reflection wobbly. When the setting sun shines or the moonlight shines, the golden pavilion seems to be a wonderful flowing thing, something that flutters its wings, which is due to the light of this water. Due to the reflection of rippling water waves, the bondage of solid form is untied. At this time, the golden pavilion seems to be composed of things that are always fluttering, such as wind, water and flame.

The beauty of the golden pavilion is unparalleled. I know where the fatigue I can't stand comes from. Beauty exerts its power again at the last chance, trying to bind me with the sense of powerlessness that has attacked me countless times in the past. My hands and feet are weak. Until just now, I was only one step away from the action, and I stepped back from here again.

"I am ready to take action, only one step away." I muttered to myself. "Since the action itself is a dream, since I have completely played the role of this dream, is it necessary to act? Isn't this a futile thing? "

Cedar may be telling the truth. He said that it is not action that changes the world, but understanding. And it is blindly imitating the understanding that action has reached its limit. My understanding belongs to this type. It is this understanding that makes action ineffective. In this way, isn't my long-term careful preparation entirely for the final understanding of "no action"?

Please note that now, for me, action is just redundant material. This is squeezed out of life, overflowed from my will, and placed in front of me like another cold iron machine, waiting to start. This kind of action has nothing to do with me. At this point, I am still me. From then on, I am not me. ..... Why should I turn myself into a non-me?

I leaned against the pine tree. This wet and cold tree attracted me. This feeling, this coldness, makes me feel like me. The world has stopped its original form and lost its desire. I am very satisfied.

"What is this extreme fatigue?" I thought, "I always feel feverish and tired, and I can't move my hands at will." I must be ill. "

The golden pavilion is still brilliant. It's really like the scenery in meditation facing the pure land of bliss at sunset seen by Shundu Maru in The Weak Magician.

Shundu Maru is blind and sees the shadow of the sunset dancing in the dark. When the weather is fine, I even saw the light road painting island, the stone to be ground, and the sea of history reflected by the sunset. ...

My body is numb. Tears streamed out. Even if it is discovered, it will last until dawn. I probably won't make any excuses.

..... that I have been describing the weakness of childhood memories so far, but it should be said that the sudden recovery of memories has also brought back the power of life. The past not only pulls us back to the past. There may be few memories of the past, but there is a strong steel spring. Now when we touch it, the spring will stretch immediately and bounce us back to the future.

My body is numb, but my mind is still playing with my memory somewhere. Some languages occasionally appear and disappear. The hand of the heart will be stretched out and hidden. ..... those words are calling me. Maybe he approached me to inspire me.

"In and out, everyone dies."

..... The opening remarks of the most famous section of this chapter are written like this. Then the language came out smoothly.

"Every Buddha kills Buddha, every ancestor kills ancestors, every arhat kills arhats, every parent kills parents, and every relative kills relatives, so that they can be freed. Free and easy. "

Words have freed me from deep weaknesses. Suddenly I was full of strength. Nevertheless, a part of my heart still stubbornly tells me that everything I have to do in the future is futile, and my strength has become not afraid of futility. Because it's futile, that's what I should do.

I huddled the cushions and bags around me, put them under my arm, and stood up and looked at gum kuo restaurant. The golden dream pavilion began to dim. The railing was gradually swallowed up by darkness, and the pillars became blurred. When the water light disappears, the reflection on the inside of the eaves also disappears. Soon, the details disappeared completely in the darkness, leaving only the hazy outline of the gum kuo restaurant.

I run. Bypassing the north side of the Golden Pavilion, I was skillful and didn't trip. The darkness is spreading. Show me the way.

I walked from Shuqing Pavilion to the board door on the west side of Jingu Pavilion, jumped into two open doors, and threw the cushion and leather under my arm on the piled luggage.

My heart is beating happily and my wet hands are shaking slightly. The match is wet. The first one is not scratched. The second one was scratched. When I scratched the third root, I blocked the wind with my hand, and the fire came out from my fingers and burned.

I'm looking for the whereabouts of straw, because I just stuffed three bundles of straw everywhere, and now I have forgotten where I stuffed them. By the time I found it, the match had burned out. I squatted down on the spot, and this time two matches struck together.

The flame painted a complex shadow of straw accumulation, and a bright wilderness color emerged and spread in all directions. Then, the flame was hidden in the rising smoke. I didn't expect the green of the mosquito net to swell up in the distance, and the flames were soaring, and I felt that the surrounding area was suddenly lively.

At this time, my mind is very clear. Matches are limited. This time, I went to another corner, struck a match and lit another bundle of straw. The blazing fire comforted me. When I used to make a fire with my friends, I was especially good at lighting it.

There is a huge swaying shadow in Fa Shui Yuan. Tommy, Guanyin and Shi Zhi in the middle are red. The righteous are like shining eyes. The shadow of this wooden statue is also shaking behind.

I can hardly feel the heat. I saw the fire really spread to the incense box, and I thought, this is no longer a problem.

I completely forgot about sleeping pills and knives. I suddenly had the idea of "dying at the top of the fire". So I fled the fire and climbed the narrow ladder. Why is the door of Chaodong open? I have no doubt. It turns out that the old tour guide forgot to close the door on the second floor.

Smoke came out from behind me. I coughed and looked at the pattern of Guanyin statue and fairy playing algae wells, which was praised as the work of Huixin. The smoke permeating the tidal cave is getting thicker and thicker. I went up another floor, ready to open the top door.

The door won't open. The door on the third floor is firmly locked.

I knock on this door. The knock on the door was fierce, but it didn't reach my ears. I knocked at the door desperately. Because I think someone will open the door for me from the top floor.

At this time, I dreamed of it, really because it was the place where I buried myself. As the smoke approached, I knocked on the door, as if asking for relief. On the other side of the door, there are only three small houses four feet seven inches square. And I had a painful dream at this time, but now the gold foil has basically peeled off and the cabin should have been covered with gold foil everywhere. I knocked on the door and thought: I can't explain how much I yearn for this dazzling hut! At least come here. Just get to this golden hut ...

I tried to knock at the door. Hands are not enough. I hit the door directly with my body, but the door still wouldn't open.

The tidal hole has been filled with smoke. There is a crackling fire under your feet. I almost choked on the smoke. I kept coughing and knocking at the door. The door still won't open.

In an instant, when I really realized that I was rejected, I turned and ran downstairs without hesitation. From the vortex of smoke to the source of water, most people escaped from the fire. Finally came to the west gate and jumped outdoors. Then I started running like Wei Tuotian, and I didn't even know where I was going.

..... I'm running. I can't imagine how long I've been running nonstop. I don't remember where I passed. I'm afraid it's from one side of Gongbei Building, out of the north back door, passing by the hall of Ming Chengzu, running up the mountain road among dwarf bamboo and rhododendron flowers, and coming to the top of Zuodai Wenji Mountain.

I was lying in the short bamboo forest under the shade of red pine trees, panting, with a calm and strong throb. It is indeed the top of Zuo Zongtang's Peak. It is a mountain guarding the Golden Pavilion from the north.

The cry of frightened birds awakened my sober consciousness. A bird approached my cheek and flew away violently.

I lay on my back and looked at the night sky. Countless birds chirped and whistled and flew over the treetops of red pine trees. There is a small spark floating overhead.

I stood up and had a bird's eye view of the golden pavilion in the distant mountain stream. A strange sound came from there. Sounds like firecrackers. It is also like the sound of countless people's joints ringing together.

You can't see the shape of the golden pavilion from here. I saw thick smoke and soaring fireworks. Countless sparks are flying among the trees, and the sky above the golden pavilion is like a golden sand.

I sat cross-legged and watched this scene for a long time.

By the time I realized it, I was covered in bruises, burns or bruises, and I was still bleeding. Blood also oozed from the fingers. Obviously, I just knocked at the door and got hurt. I licked the wound like an escaped beast.

I reached into my pocket, took out a knife and a sleeping pill bottle wrapped in a handkerchief and threw it at the bottom of the valley.

Pulled another cigarette out of his other pocket. I started smoking, as if a person often wanted to have a rest after finishing something. I thought to myself: I want to live!

(translated by Tang Yuemei)

Precautions:

Collecting scriptures is called copying scriptures for the dead, praying for ghosts and offering them to the spiritual world.

The title of the book The Weak Magician was written by Simi.

Huixin (942- 10 17) was honored as Yuanxin, a monk of Tiantai Sect in the middle of the Heian Dynasty.

Wei Tuotian, a Buddhist, runs fast.

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What is beauty? Is it a harmonious proportion and a flood of emotions, or is beauty a perceptual manifestation of reason, as Hegel said? ..... Yukio Mishima expounded his understanding of beauty in "Golden Pavilion Temple", which is half a psychological novel and half a philosophical novel: beauty has nothing to do with material existence, but belongs to the spiritual world, the metaphysical world and the existence of an idea.

"Golden Pavilion Temple" is based on a real historical event. 1950 In July, Jingu Temple, a national treasure building with a history of more than 500 years, was set on fire. It was originally a private villa built by a general named Ashikaga Yoshimitsu at the end of 15, and later it was changed into a temple. In Mishima's words, Jingu Temple is like a bright moon in the sky, which was built as a symbol of the dark ages. The arsonist's name is Lin Yangxian, a monk at Shengong Temple and a freshman at Otani University. According to Lin Yangxian's account, the motive of his arson was to see many people visiting the Golden Pavilion every day, and he was disgusted and jealous of beautiful women. It is also said that the actual reason why Lin Yangxian set fire first was because he had a bad relationship with the abbot. Based on this, the novel tells the story of a naturally stuttering young monk, Mizoguchi's worship of the beauty of the shrine, and his persistent desire for a beautiful eternal world.

Mizoguchi, the hero in Mishima's works, is a broken existence in itself. Stuttering, ugly, sickly, the son of a remote cape temple abbot, was given a good future as a monk and so on. These basic established facts make him lose the freedom of life and cannot enter the life world of the group through self-selection. He is always laughed at by others and almost abandoned by everyone, so he feels inferior and lonely. Under such an environment and mentality, he had a deep hatred and hostility to health, society and the whole world. When he felt desperate, he even imagined that all people would die and the world would perish. What he dreams of is disaster, destruction and terrible tragedy. At the same time, he involuntarily reveals almost illusory and mysterious speculation and thinking about the existence of life, "imagining himself as the king of the inner world and becoming a great artist who is quietly detached from things" and feeling that "there is a mission waiting for him in this world that he does not know yet". Many times he lives in imagination, and the tool language for human communication with reality is what Mizoguchi lacks. For him, the bridge with reality has not been established. Therefore, since his father told him that "there is nothing more beautiful than the Golden Pavilion Temple" when he was a child, he used his imagination to ponder all the beauty of the Golden Pavilion Temple and taste the only remaining beauty and fantasy in the imaginary world. Combined with the most beautiful imagination of the Golden Pavilion, his inferiority, loneliness and cynicism caused by his physical defects are all resolved one by one. He feels that he owns the world and is also owned by the world.

This imaginary golden pavilion has actually become an ideal mirror image of Mizoguchi, filtering out the impurities and ugliness of reality and showing purity, ethereal and beauty. It shows Mizoguchi the possibility of endless temptation, which makes him go beyond the stipulation of reality to some extent, gallop freely in fantasy and realize himself. "The idealized self has become his perspective and yardstick for observing himself". Although he continues to experience that his life has been "thrown away from all normal tracks and instinctive sense of loss and fear forever", under the guidance of this idealized mirror image, his true self is covered endlessly. Therefore, Mizoguchi can enjoy his disability in the mirror quite contentedly when he occasionally forgets the reality, and even regard it as a proud capital.

However, when his father took him to Kyoto and saw the Jingu Temple on the spot, he destroyed it in his fantasy. Look, the Golden Pavilion is just "an old dark three-story building. The phoenix on the top, like a crow, is not only not beautiful, but even gives people a feeling of disharmony and instability. " Obviously, once the concept of beauty is materialized, it loses its charm. But before long, the beauty of the golden pavilion was revived in his heart. He thinks it is even more beautiful than before he actually saw it, because "what is conceived in a dream, once corrected by reality, becomes a dream." He sincerely admitted that his father said, "The most beautiful thing in the world is the Golden Pavilion".

However, a sharp contradiction is placed in front of Mizoguchi: on the one hand, beauty exists forever, because it depends entirely on imagination; On the other hand, the material entity that embodies beauty cannot stand the loss of time and cannot hold beauty for a long time. The imaginary golden pavilion is beautiful, but the actual dark golden pavilion is getting more and more worn out. Mizoguchi is troubled by this contradiction. When the war broke out, he sincerely hoped that he could be destroyed by the war with the Golden Pavilion, so as to get rid of the material reality in a short glory and reach the ultimate of eternal beauty. But his expectations didn't come true. After the war, the Golden Pavilion Temple still stands, and seems to be deliberately betraying his ideas, further declining with an antagonistic attitude and not sparing the beauty. This made Mizoguchi have unprecedented indignation.

At the same time, the conflict between beauty and reality is more extensive and acute in real life. One is on the other side and the other is on this side, which is simply incompatible. Mizoguchi's friend, pure and kind Kawakawa, committed suicide because of the failure of love and could not stand the torture of this world; The ugly and cruel lame cypress believes in a shocking evil philosophy and is like a duck to water in the real world. The beautiful woman who once touched him has changed beyond recognition and become a prostitute fooling around with men everywhere. The touching story he imagined for this beautiful woman was shattered. The abbot of the temple also exposed his true face as a hypocrite. Mizoguchi accidentally ran into him in the street wearing tacky clothes and holding a red shirt in his hand. Since then, he gradually alienated Mizoguchi and became dissatisfied. These beautiful things, such as purity, kindness, vulgarity and loyalty, are rare in Mizoguchi's world, but they have completely disappeared now. In this real world, it is difficult to find traces of beauty.

Jingu Temple is no longer the embodiment of the concept of eternal beauty, but has become a symbol of the increasingly ugly secular world with the passage of time. "My dream of living in a world with a golden pavilion is shattered." The imaginary golden pavilion and the dark golden pavilion in reality can be said to wear no clothes. So Mizoguchi hates the real shrine and its fragility. He cursed it and vowed to conquer it. In order to change the situation that "beauty is over there, but I am here", he is determined to die with this building that has cut off its internal connection.

The excerpt is the last part of the novel. After long-term consideration and careful preparation, Mizoguchi finally set out to burn the Jingu Temple. But this is not simple violence. Just when Mizoguchi was about to put it into action, the beauty of the Golden Pavilion, the gap between dream and reality, and the distance between eternity and moment were once again like a magical valley, where it was greatly opened to attract Mizoguchi who wanted to set fire to let him observe, experience and speculate. It is here that Mishima's aesthetic thoughts conveyed to readers through Mizoguchi's thoughts are particularly vivid and concentrated.

Beauty lies not only in details, but also in the whole. Carving beams and painting buildings, gold foil and jade ornaments, and eaves carving of algae wells are beautiful, but what is more important is the complete and exquisite pattern and charm of the golden pavilion. Otherwise, it will be trivial and easy to be forgotten, which needs a more advanced philosophy of beauty to summarize. What dominates this higher philosophy of beauty is not the concrete law of construction or the law of proportional symmetry, but the flowing and great power of life function. This functional force has broken the metaphysics of balance, transiting, wandering and flying from one architectural level to another until returning to hometown and homeland. "So, beauty sums up the disputes, contradictions and all disharmony in all parts, and it is King's Landing!" In the past, the beauty of the golden pavilion that troubled Mizoguchi so much was incomprehensible, as if half of it had been answered: "If we look at the beauty of its details ... we will know that beauty never ends with its details, but ends with its parts, but any part of beauty contains another omen of beauty. The beauty of detail itself is full of uneasiness. Although it dreamed of perfection, it did not know the end, and it was instigated to pursue another kind of beauty, the unknown beauty. As a result, omens and omens are linked together, and a beautiful omen that does not exist one by one forms the theme of the Golden Pavilion. This omen turned out to be a sign of nothingness. Nihility is such a beautiful structure. " This shows that the whole is not a fixed structure, but presents an open dynamic. Because of this, Mizoguchi compared the Golden Pavilion with her own understanding to a wreath floating in the wind. He believes that the structure of the beauty of the golden pavilion is "nothingness", that is to say, this beauty is not a physical existence and cannot be accurately fixed. Absence is absence; But no doesn't mean no, it's another way of being. Although this truth is somewhat mysterious, it can fill the huge gap between the beauty of dreams and the beauty of reality.

Another worry that bothers Mizoguchi is the rationality of his burning of Jingu Temple. Since all the real existence is in dreams, imaginations, thoughts, or generally speaking, in nothingness, is it necessary for him to act this time? Isn't it futile? This confusion left him numb and weak. Finally, China's self-confidence and strength were restored by the saying that Zen can be "free and easy". Beauty is in nothingness, but it is hidden by things. The young Mizoguchi was disappointed when he first saw the golden pavilion, which is why he mistakenly thought that beauty lies in shape. Because of this, in order to make people wake up, they have to abandon things and enlighten their hearts, and even take extreme measures when necessary. This is what Lu said: "Take good care of the entrance and exit, and kill whoever you meet. Every time you kill Buddha, every time you kill your ancestors, every time you kill Lohan, every time you kill your parents, and every time you kill your loved ones, you can only get rid of it. " Now, burning the shrine is the only way out for Mizoguchi himself and the people. Now that we have reached the road to liberation, Mizoguchi naturally doesn't have to die.

It is generally believed that Yukio Mishima's works are influenced by western culture. Facts have proved that the influence of China culture can also be found in his novels. Philosophy such as "Golden Pavilion Temple" is also Zen to a great extent. But it needs a higher level of discovery and careful understanding.

(Zhang Hong, Huang Chunlan)