“Before existence, there was essence; before reality, there was illusion; before the present, there was a premonition, clearly and strongly suggesting a more profound essence, that is what woman was.”
- January 14, 1925 – November 25, 1970
- Born in Japan
- Novelist, playwright, critic, political activist
- He became a representative figure of postwar Japanese literature, and was highly acclaimed both at home and abroad. He pursued his own unique aesthetic with themes of beauty and death, and ultimately committed seppuku at a Self-Defense Forces garrison. His life, which combined literature with action, continues to have a strong influence today.
Japanese
「存在よりもさきに精髄が、現実よりもさきに夢幻が、現前よりもさきに予兆が、はっきりと、より強い本質を匂わせて、現れ漂っているような状態、それこそは女だった。」
English
“Before existence, there was essence; before reality, there was illusion; before the present, there was a premonition, clearly and strongly suggesting a more profound essence, that is what woman was.”
Explanation
In this quote, Mishima presents an idealized, almost mystical view of woman, describing her as an embodiment of unrealized potential or unmanifested essence. He suggests that a woman exists as a symbol or precursor to existence itself, with a nature that transcends physical reality, dreams, and even the present moment. The sequence of ideas—essence before existence, illusion before reality, and premonition before the present—suggests that a woman represents a deeper layer of reality, one that is more fundamental, intangible, and mysterious than the actual world around us. Mishima’s portrayal of woman as something that precedes and suggests these core elements of existence evokes a sense of elusive beauty and primordial force that transcends rationality and structure.
This perspective aligns with Mishima’s broader themes of the mystical and the transcendent, where woman often symbolizes an idealized concept of purity, mystery, and desire—elements that cannot be fully grasped or understood through conventional reason or societal norms. In Mishima’s view, women are often portrayed not merely as physical beings, but as metaphysical forces that suggest something greater than the immediate world, hinting at a deeper truth or mystery. This concept reflects the recurring duality in Mishima’s work between the spiritual and the physical, the ideal and the real, and his fascination with forces that lie beyond the surface of reality.
In a modern context, Mishima’s view on woman can be seen as both an expression of romantic idealism and a reflection on the mystification of gender roles. While contemporary society often emphasizes equality and empowerment, Mishima’s words offer an exploration of how women have historically been viewed as symbols of something more mysterious and ethereal—attributes that have been both admired and objectified. Mishima’s emphasis on essence and illusion over reality might also prompt modern readers to question how women continue to be idealized or misunderstood, with their true nature often reduced to cultural constructs or myths rather than recognized for their complexity as individuals. Mishima’s reflection on woman as a transcendent being challenges us to reconsider the mystical dimensions of human identity, especially in a world where rationality and materialism have increasingly dominated our understanding of the human experience.
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