“A complex is the stepping stool a writer uses for hanging themselves.”
- January 14, 1925 – November 25, 1970
- Born in Japan
- Novelist, playwright, critic, political activist
Japanese
「コムプレックスとは、作家が首吊りに使う踏台なのである」
English
“A complex is the stepping stool a writer uses for hanging themselves.”
Explanation
In this quote, Mishima uses the metaphor of a stepping stool to illustrate the relationship between a writer and their complexes—the psychological or emotional burdens that shape their lives and work. The complex, in this sense, is not just a source of inner conflict but also a tool that the writer may unwittingly use to propel themselves into their artistic expression. The stepping stool is both a means to reach something and the instrument of one’s own demise, indicating that while a writer’s complexes may be an essential source of creativity, they also carry the potential for destruction. The image of the hanging stool suggests that these internal struggles, while vital for the creation of art, can also serve as a form of self-sabotage, leading the artist into a trap from which they cannot escape.
Mishima’s view on complexes highlights the paradoxical nature of the writer’s psyche—how deeply personal conflicts, doubts, and insecurities can fuel creativity and literary expression, but can also become a burden that hinders their mental well-being. He often explored the tension between art and psychological turmoil, suggesting that great writing often emerges from the conflict and suffering within the artist. However, Mishima warns that this suffering—embodied by the complex—can become overwhelming, and the same emotional struggles that fuel literary brilliance can lead to destruction if left unchecked. In this way, the complex is both the source of the artist’s work and the danger that threatens their existence.
In a modern context, Mishima’s words reflect the idea that many creative minds today continue to wrestle with the dual nature of their inner struggles. Complexes—whether related to identity, society, or personal experience—are often what drive artists, yet can also be the catalysts for their personal crises. The creative process is not only about expressing one’s deepest thoughts but can also expose the vulnerabilities that come with confronting one’s own psychological wounds. Mishima’s warning about the complex as a “stepping stool” suggests that while artists may use their internal conflicts to fuel creativity, they must be aware of the dangers of becoming trapped by them. It is a call for artists to navigate their internal world with awareness, ensuring that their emotional struggles do not overwhelm them, but rather serve as a means of creative expression without becoming a force of self-destruction.
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