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mùlù ·zuòzhě: sān dǎo yóu jì fū Mishima Yukio ·No. 2 ·jiǎn jiè Brief introduction ·shēng píng Life ·píng jià Evaluate ·zuò pǐn liè biǎo List of works ·yīngwénjièshì ·xiàngguāncí ·bāo hán cí ·gèngduōjiéguǒ... sān dǎo yóu jì fū Mishima Yukio (1925~1970)  sān >sāndǎo >dǎoyóu >yóujì >jìfū >fūMishimaYukio Mishima Yukio     zhāo hé shí dài   (1925niányuányuè14rì～1970niánshíyīyuè25rì)  yán qíng describe loving stories (books)： 《cháo sāo》 qīng chūn xiào yuán prime campus： 《jiǎ miàn de gào bái》 《jīn gé sì》 三岛由纪夫 　　 sān dǎo yóu jì fū （ 1925-1970）， rì běn zuò jiā。 sān dǎo yóu jì fū běn míng píng gāng gōng wēi。 guān liáo jiā tíng chū shēn。 6 suì qǐ zài xué xí yuàn shòu jiào yù cháng dá 13 nián zhī jiǔ。 zài xiào qī jiān， sī xiǎng shàng shòu rì běn làng màn pài de yǐng xiǎng， tóng shí kāi shǐ yòng xiàn zài de bǐ míng fā biǎo xí zuò。 1944 nián kǎo rù dōng jīng dà xué fǎ xué bù， 1946 nián jīng wéi měi pài dài biǎo zuò jiā chuān duān kāng chéng tuī jiàn， fā biǎo duǎn piān xiǎo shuō《 yān cǎo》， cóng cǐ zhèng shì jìn rù wén tán。 1947 nián dà xué bì yè hòu kǎo qǔ gāo děng wén guān， fēn pèi dào dàzàng shěng（ cái zhèng bù） yínháng jú rèn zhí， 8 gè yuè hòu cí zhí， chéng wéi zhuān yè zuò jiā。 1949 nián fā biǎo《 xū wěi de gào bái》， diàn dìng liǎo zuò jiā dì wèi。 zài tā jìn rù wén tán de 20 nián zhōng， zǒng gòng xiě liǎo bù tóng tǐ cái de wén xué zuò pǐn 300 duō piān， jǐn xīn cháo shè yī jiā jiù chū bǎn liǎo tā de quán jí 36 juàn。 xì qū jí《 jìn dài néng lè》（ 1956） céng zài yī xiē guó jiā gōng yǎn， shòu dào huān yíng， tā shēng qián céng liǎng cì bèi tí míng wéi nuò bèi 'ěr wén xué jiǎng de hòu xuǎn rén。 　　 　　 sān dǎo yóu jì fū de wén xué huó dòng， dà zhì yǐ 60 nián dài wéi jiè， fēn wéi qián hòu liǎng qī。 qián qī wéi měi zhù yì sè cǎi jiào nóng， hòu qī biǎo xiàn chū yī zhǒng kě pà de yì shù qīng xié hé diān dǎo。 qián qī zhù yào shòu 20 shì jì chū fǎ guó zuò jiā léi méng - lā dí kǎi（ 1903 yī 1923） hé 19 shì jì yīng guó zuò jiā wáng 'ěr dé（ 1854 ～ 1900） de yǐng xiǎng， dà duō miáo xiě qīng nián nán nǚ de xìng kǔ mèn hé làng màn de 'ài qíng gù shì， yǐ bù shǎo bǐ mò kè huà xīn lǐ hé fēng liú yùn shì。 dài biǎo zuò yòu《 xū jiǎ de gào bái》（ 1949）、《 cháo sāo》（ 1954）、《 zhì hè sì shàng rén zhī liàn》（ 1954）、《 jīn gé sì》（ 1956） děng。 　　 　　1970 nián 11 yuè， sān dǎo yóu jì fū shān dòng jūn duì zǔ zhì wǔ zhuāng zhèng biàn shī bài， qiē fù zì shā。 tā shì yī gè zài sī xiǎng shàng miù wù duō duān、 zài yì shù shàng de chéng jiù yòu bù róng mǒ shā de fù zá rén wù。 　　Yukio Mishima (三島 由紀夫, Mishima Yukio?) was the pen name of Kimitake Hiraoka (平岡 公威, Hiraoka Kimitake?, January 14, 1925–November 25, 1970), a Japanese author, poet and playwright, also remembered for his ritual suicide by seppuku. 　　 　　Mishima was born in the Yotsuya district of Tokyo (now part of Shinjuku). His father was Azusa Hiraoka, a government official, and his mother, Shizue, was the daughter of a school principal in Tokyo. His paternal grandparents were Jotarō and Natsuko Hiraoka. He had a younger sister named Mitsuko, who died of typhus, and a younger brother named Chiyuki. 　　 　　Mishima's early childhood was dominated by the shadow of his grandmother, Natsu, who took the boy and separated him from his immediate family for several years. Natsu was the illegitimate granddaughter of Matsudaira Yoritaka, the daimyo of Shishido in Hitachi Province, and had been raised in the household of Prince Arisugawa Taruhito; she maintained considerable aristocratic pretensions even after marrying Mishima's grandfather, a bureaucrat who had made his fortune in the newly opened colonial frontier and who rose to become Governor-General of Karafuto. She was also prone to violence and morbid outbursts, which are occasionally alluded to in Mishima's works. It is to Natsu that some biographers have traced Mishima's fascination with death. Natsu did not allow Mishima to venture into the sunlight, to engage in any kind of sport or to play with other boys; he spent much of his time alone or with female cousins and their dolls. 　　 　　Mishima returned to his immediate family at 12. His father, a man with a taste for military discipline, employed such tactics as holding the young boy up to the side of a speeding train; he also raided Mishima's room for evidence of an "effeminate" interest in literature and often ripped up the boy's manuscripts. 　　Schooling and early works 　　Young Mishima in school uniform (ca. February 1940) 　　 　　At age six, Mishima enrolled in elite Peers School (Gakushuin 学習院). At 12, Mishima began to write his first stories. He read voraciously the works of Oscar Wilde, Rainer Maria Rilke and numerous classic Japanese authors. After six years at school, he became the youngest member of the editorial board in its literary society. Mishima was attracted to the works of Tachihara Michizō, which in turn created an appreciation for the classical form of the waka. Mishima's first published works included waka poetry, before he turned his attention to prose. 　　 　　He was invited to write a prose short story for the Peers' School literary magazine and submitted Hanazakari no Mori (花ざかりの森 The Forest in Full Bloom), a story in which the narrator describes the feeling that his ancestors somehow still live within him. Mishima’s teachers were so impressed with the work that they recommended it for the prestigious literary magazine, Bungei-Bunka (文芸文化 Literary Culture). The story, which makes use of the metaphors and aphorisms which later became his trademarks, was published in book form in 1944, albeit in a limited fashion (4,000 copies) because of the wartime shortage of paper. In order to protect him from a possible backlash from his schoolmates, his teachers coined the pen-name "Yukio Mishima". 　　 　　Mishima's story Tabako (煙草 The Cigarette), published in 1946, describes some of the scorn and bullying he faced at school when he later confessed to members of the school's rugby union club that he belonged to the literary society. This trauma also provided material for the later story Shi o Kaku Shōnen (詩を書く少年 The Boy Who Wrote Poetry) in 1954. 　　 　　Mishima received a draft notice for the Imperial Japanese Army during World War II. At the time of his medical check up, he had a cold and spontaneously lied to the army doctor about having symptoms of tuberculosis and thus was declared unfit for service. 　　 　　Although his father had forbidden him to write any further stories, Mishima continued to write secretly every night, supported and protected by his mother, who was always the first to read a new story. Attending lectures during the day and writing at night, Mishima graduated from the University of Tokyo in 1947. He obtained a position as an official in the government's Finance Ministry and was set up for a promising career. 　　 　　However, Mishima had exhausted himself so much that his father agreed to his resigning from his position during his first year in order to devote his time to writing. 　　Post-war literature 　　 This section may require cleanup to meet Wikipedia's quality standards. Please improve this section if you can. (September 2009) 　　 　　Mishima was a disciplined and versatile writer. He wrote not only novels, popular serial novellas, short stories and literary essays, but also highly acclaimed plays for the Kabuki theater and modern versions of traditional Noh drama. 　　 　　Mishima began the short story Misaki nite no Monogatari (岬にての物語 A Story at the Cape) in 1945, and continued to work on it through the end of World War II. In January 1946, he visited famed writer Yasunari Kawabata in Kamakura, taking with him the manuscripts for Chūsei (中世 The Middle Ages) and Tabako, and asking for Kawabata’s advice and assistance. In June 1946, per Kawabata's recommendations, Tabako was published in the new literary magazine Ningen (人間 Humanity). 　　 　　Also in 1946, Mishima began his first novel, Tōzoku (盗賊 Thieves), a story about two young members of the aristocracy drawn towards suicide. It was published in 1948, placing Mishima in the ranks of the Second Generation of Postwar Writers. He followed with Confessions of a Mask, a semi-autobiographical account of a young latent homosexual who must hide behind a mask in order to fit into society. The novel was extremely successful and made Mishima a celebrity at the age of 24. Around 1949, Mishima published a series of essays in Kindai Bungaku on Yasunari Kawabata, for whom he had always had a deep appreciation. 　　 　　His writing gained him international celebrity and a sizable following in Europe and America, as many of his most famous works were translated into English. Mishima traveled extensively; in 1952 he visited Greece, which had fascinated him since childhood. Elements from his visit appear in Shiosai (潮騒 Sound of the Waves), which was published in 1954, and which drew inspiration from the Greek legend of Daphnis and Chloe. 　　 　　Mishima made use of contemporary events in many of his works. The Temple of the Golden Pavilion in 1956 is a fictionalization of the burning of the famous temple in Kyoto. Utage no Ato (After the Banquet), published in 1960, so closely followed the events surrounding politician Hachirō Arita's campaign to become governor of Tokyo that Mishima was sued for invasion of privacy.[citation needed] In 1962, Mishima's most avant-garde work, Utsukushii Hoshi (Beautiful Star), which at times comes close to science fiction, was published to mixed critical response. 　　 　　Mishima was among those considered for the Nobel Prize for Literature three times and was the darling of many foreign publications. However, in 1968 his early mentor Kawabata won the Nobel Prize and Mishima realized that the chances of it being given to another Japanese author in the near future were slim. It is also believed[citation needed] that Mishima wanted to leave the prize to the aging Kawabata, out of respect for the man who had first introduced him to the literary circles of Tokyo in the 1940s. 　　Acting 　　 　　Mishima was also an actor, and he had a starring role in Yasuzo Masumura's 1960 film, Afraid to Die. He also has had roles in films including Yukoku (1966), Black Lizard (1968) and Hitokiri (1969). He also sang the theme song for Hitokiri. 　　Private life 　　Yukio Mishima (lower) with Shintarō Ishihara in 1956. 　　 　　In 1955, Mishima took up weight training and his workout regimen of three sessions per week was not disrupted for the final 15 years of his life. In his 1968 essay Sun and Steel, Mishima deplored the emphasis given by intellectuals to the mind over the body. Mishima later also became very skillful at kendō. 　　 　　Although he visited gay bars in Japan, Mishima's sexual orientation remains a matter of debate, though his widow wanted that part of his life downplayed after his death. However, several people have claimed to have had homosexual relationships with Mishima, including writer Jiro Fukushima who, in his book, published a revealing correspondence between himself and the famed novelist. Soon after publication, Mishima's children successfully sued Fukushima for violating Mishima's privacy. After briefly considering a marital alliance with Michiko Shōda—she later became the wife of Emperor Akihito—he married Yoko Sugiyama on June 11, 1958. The couple had two children, a daughter named Noriko (born June 2, 1959) and a son named Ichiro (born May 2, 1962). 　　 　　In 1967, Mishima enlisted in the Ground Self Defense Force (GSDF) and underwent basic training. A year later, he formed the Tatenokai (Shield Society), a private army composed primarily of young students who studied martial principles and physical discipline, and swore to protect the Emperor. Mishima trained them himself. However, under Mishima's ideology, the emperor was not necessarily the reigning Emperor, but rather the abstract essence of Japan. In Eirei no Koe (Voices of the Heroic Dead), Mishima actually denounces Emperor Hirohito for renouncing his claim of divinity at the end of World War II. 　　 　　In the last 10 years of his life, Mishima wrote several full length plays, acted in several movies and co-directed an adaptation of one of his stories, Patriotism, the Rite of Love and Death. He also continued work on his final tetralogy, Hōjō no Umi (Sea of Fertility), which appeared in monthly serialized format starting in September 1965. 　　Coup attempt 　　 　　On November 25, 1970, Mishima and four members of the Tatenokai, under pretext, visited the commandant of the Ichigaya Camp—the Tokyo headquarters of the Eastern Command of Japan's Self-Defense Forces. Inside, they barricaded the office and tied the commandant to his chair. With a prepared manifesto and banner listing their demands, Mishima stepped onto the balcony to address the soldiers gathered below. His speech was intended to inspire a coup d'etat restoring the powers of the emperor. He succeeded only in irritating them, however, and was mocked and jeered. He finished his planned speech after a few minutes, returned to the commandant's office and committed seppuku. The customary kaishakunin duty at the end of this ritual had been assigned to Tatenokai member Masakatsu Morita, but Morita was unable to properly perform the task: after several attempts, he allowed another Tatenokai member, Hiroyasu Koga, to behead Mishima. 　　 　　Another traditional element of the suicide ritual was the composition of jisei no ku (death poems) before their entry into the headquarters. Mishima planned his suicide meticulously for at least a year and no one outside the group of hand-picked Tatenokai members had any indication of what he was planning. His biographer, translator and former friend John Nathan suggests that the coup attempt was only a pretext for the ritual suicide of which Mishima had long dreamed. Mishima made sure his affairs were in order and left money for the legal defence of the three surviving Tatenokai members. 　　Aftermath 　　 　　Much speculation has surrounded Mishima's suicide. At the time of his death he had just completed the final book in his The Sea of Fertility tetralogy. He was recognized as one of the most important post-war stylists of the Japanese language. 　　 　　Mishima wrote 40 novels, 18 plays, 20 books of short stories, and at least 20 books of essays, one libretto, as well as one film. A large portion of this oeuvre comprises books written quickly for profit, but even if these are disregarded, a substantial body of work remains. 　　Politics 　　 　　Mishima espoused a very individual brand of nationalism towards the end of his life. He was hated by leftists, in particular for his outspoken and anachronistic commitment to bushidō (the code of the samurai) and by mainstream nationalists for his contention, in Bunka Bōeiron (文化防衛論 A Defense of Culture), that Hirohito should have abdicated and taken responsibility for the war dead. 　　Awards 　　 　　 * Shincho Prize from Shinchosha Publishing, 1954, for The Sound of Waves. 　　 * Kishida Prize for Drama from Shinchosha Publishing, 1955. 　　 * Yomiuri Prize from Yomiuri Newspaper Co., for best novel, 1957, The Temple of the Golden Pavilion. 　　 * Yomiuri Prize from Yomiuri Newspaper Co., for best drama, 1961, Toka no Kiku. 　　 　　Major works 　　Japanese Title English Title Year English translation, year ISBN 　　假面の告白 　　Kamen no Kokuhaku Confessions of a Mask 1948 Meredith Weatherby, 1958 ISBN 0-8112-0118-X 　　愛の渇き 　　Ai no Kawaki Thirst for Love 1950 Alfred H. Marks, 1969 ISBN 4-10-105003-1 　　禁色 　　Kinjiki Forbidden Colors 1953 Alfred H. Marks, 1968–1974 ISBN 0-375-70516-3 　　潮騷 　　Shiosai The Sound of Waves 1954 Meredith Weatherby, 1956 ISBN 0-679-75268-4 　　金閣寺 　　Kinkaku-ji* The Temple of the Golden Pavilion 1956 Ivan Morris, 1959 ISBN 0-679-75270-6 　　鏡子の家 　　Kyōko no Ie Kyoko's House 1959 ISBN 　　宴のあと 　　Utage no Ato After the Banquet 1960 Donald Keene, 1963 ISBN 0-399-50486-9 　　午後の曳航 　　Gogo no Eikō The Sailor Who Fell from Grace with the Sea 1963 John Nathan, 1965 ISBN 0-679-75015-0 　　絹と明察 　　Kinu to Meisatsu Silk and Insight 1964 Hiroaki Sato, 1998 ISBN 0-7656-0299-7 　　三熊野詣 　　Mikumano Mōde 　　(short story) Acts of Worship 1965 John Bester, 1995 ISBN 0-87011-824-2 　　サド侯爵夫人 　　Sado Kōshaku Fujin 　　(play) Madame de Sade 1965 Donald Keene, 1967 ISBN 0-394-17304-X 　　憂國 　　Yūkoku 　　(short story) Patriotism 1966 Geoffrey W. Sargent, 1966 ISBN 0-8112-1312-9 　　真夏の死 　　Manatsu no Shi Death in Midsummer and other stories 1966 Edward G. Seidensticker, Ivan Morris, 　　Donald Keene, Geoffrey W. Sargent, 1966 ISBN 0-8112-0117-1 　　葉隠入門 　　Hagakure Nyūmon Way of the Samurai 1967 Kathryn Sparling, 1977 ISBN 0-465-09089-3 　　わが友ヒットラー 　　Waga Tomo Hittorā 　　(play) My Friend Hitler and Other Plays 1968 Hiroaki Sato, 2002 ISBN 0-231-12633-6 　　太陽と鐡 　　Taiyō to Tetsu Sun and Steel 1970 John Bester ISBN 4-7700-2903-9 　　豐饒の海 　　Hōjō no Umi The Sea of Fertility tetralogy: 1964- 　　1970 ISBN 0-677-14960-3 　　　　I. 春の雪 　　　　Haru no Yuki 　　　1. Spring Snow 1968 Michael Gallagher, 1972 ISBN 0-394-44239-3 　　　　II. 奔馬 　　　　Honba 　　　2. Runaway Horses 1969 Michael Gallagher, 1973 ISBN 0-394-46618-7 　　　　III. 曉の寺 　　　　Akatsuki no Tera 　　　3. The Temple of Dawn 1970 E. Dale Saunders and Cecilia S. Seigle, 1973 ISBN 0-394-46614-4 　　　　IV. 天人五衰 　　　　Tennin Gosui 　　　4. The Decay of the Angel 1970 Edward Seidensticker, 1974 ISBN 0-394-46613-6 　　 　　*For the temple called Kinkaku-ji, see Kinkaku-ji. 　　Plays for classical Japanese theatre 　　 　　In addition to contemporary-style plays such as Madame de Sade, Mishima wrote for two of the three genres of classical Japanese theatre: Noh and Kabuki (as a proud Tokyoite, he would not even attend the Bunraku puppet theatre, always associated with Osaka and the provinces). 　　 　　Though Mishima took themes, titles and characters from the Noh canon, his twists and modern settings, such as hospitals and ballrooms, startled audiences accustomed to the long-settled originals. 　　 　　Donald Keene translated Five Modern Noh Plays (Tuttle, 1981; ISBN 0-8048-1380-9). Most others remain untranslated and so lack an "official" English title; in such cases it is therefore preferable to use the rōmaji title. 　　Year Japanese Title English Title Genre 　　1950 邯鄲 　　Kantan Noh 　　1952 卒塔婆小町 　　Sotoba Komachi Komachi at the Stupa (gravepost) Noh 　　1954 鰯賣戀曳網 　　Iwashi Uri Koi Hikiami The Sardine Seller's Net of Love Kabuki 　　1955 綾の鼓 　　Aya no Tsuzumi The Damask Drum Noh 　　1955 芙蓉露大内実記 　　Fuyō no Tsuyu Ōuchi Jikki The Ōuchi Clan (oversimplified/not standardised) Kabuki 　　1956 班女 　　Hanjo Noh 　　1956 葵の上 　　Aoi no Ue The Lady Aoi Noh 　　1965 弱法師 　　Yoroboshi The Blind Young Man Noh 　　1969 椿説弓張月 　　Chinsetsu Yumiharizuki The Crescent, or Crescent Moon: The Adventures of Tametomo, literally "The Strange Theory of a Paper Lantern's Appearance" Kabuki 　　Films 　　Year Title USA Release Title(s) Character Director 　　1951 純白の夜 　　Jumpaku no Yoru Unreleased in the U.S. Hideo Ōba 　　1959 不道徳教育講座 　　Fudōtoku Kyōikukōza Unreleased in the U.S. himself Katsumi Nishikawa 　　1960 からっ風野郎 　　Karakkaze Yarō Afraid to Die Takeo Asahina Yasuzo Masumura 　　1966 憂国 　　Yūkoku The Rite of Love and Death 　　Patriotism Shinji Takeyama Domoto Masaki, Yukio Mishima 　　1968 黒蜥蝪 　　Kurotokage Black Lizard Human Statue Kinji Fukasaku 　　1969 人斬り 　　Hitokiri Tenchu! Shimbei Tanaka Hideo Gosha 　　1985 Mishima: A Life in Four Chapters 　　 Mishima: A Life in Four Chapters Paul Schrader 　　Music by Philip Glass 　　The Strange Case of Yukio Mishima 　　(BBC documentary) The Strange Case of Yukio Mishima Michael Macintyre 　　Photo modeling 　　 　　Mishima has been featured as a photo model in Ba-ra-kei: Ordeal by Roses by Eikoh Hosoe, as well as in Young Samurai: Bodybuilders of Japan and OTOKO: Photo Studies of the Young Japanese Male by Tamotsu Yatō. Donald Richie gives a short lively account of Mishima, dressed in a loincloth and armed with a sword, posing in the snow for one of Tamotsu Yato's photoshoots. No. 2 　　 sān dǎo yóu jì fū (1925-1970) bēi zhuàng de sǐ xiàng tā miào bǐ shēng huā de xiě zuò yī yàng wén míng yú shì。 zuò wéi xǔ duō zhǒng chōng mǎn rè qíng huò tòng kǔ de xiǎo shuō、 shī gē hé xì jù de zuò zhě， sān dǎo zài tā hái shàng dà xué de shí hòu jiù fā biǎo liǎo tā de dì yī pī zuò pǐn。 tā zuì zhù míng de xiǎo shuō zhī yī shì《 jīn gé sì》。 　　 　　 xiǎo shuō jiǎng de shì yī gè bèi jīn gé de měi suǒ kùn rǎo de hé shàng bǎ tā shāo huǐ liǎo de gù shì。 zuì hòu zài cháng shì duō cì què wèi néng shí xiàn yòu qīng gé mìng hòu， sān dǎo yòng wǔ shì shì de qiē fù zì shā jié shù liǎo zì jǐ de shēng mìng。 　　 dì zhǐ： jīng dū xī nán， chéng gōng gòng qì chē huò huǒ chē dào guì lí gōng zhàn。 10 ∶ 00 hé 14∶ 00 liǎng pī yóu lǎn， zhì shǎo tí qián yī tiān zài huáng gōng tíng yuán huáng shì dài bàn chù shēn qǐng ( diàn huà： 2111215)， dài hù zhào， miǎn fèi rù nèi。 jiǎn jiè Brief introduction 　　 sān dǎo yóu jì fū shì rì běn zhàn hòu wén xué de dà shī zhī yī， zài rì běn wén tán yōng yòu gāo dù shēng yù。 zhū duō zuò pǐn zhōng， yǐ 1956 nián chū bǎn de《 jīn gé sì》 zuì wéi rén suǒ shú zhī， zhè shì bù chōng mǎn bēi jù xìng huàn miè měi xué de zuò pǐn， ào yě jiàn nán céng zài dāng shí zàn shǎng gāi zuò： “ zhè shì sān dǎo wén xué de zuì gāo shuǐ píng， sān dǎo měi xué de jí dà chéng， běn nián dù wén tán de zuì dà fēng shōu。 ” chú liǎo rì běn guó nèi， sān dǎo de zuò pǐn zài xī fāng shì jiè yě yòu chóng gāo de píng jià， shèn zhì yòu rén yù chēng tā wéi“ rì běn de hǎi míng wēi”， céng 'èr dù rù wéi nuò bèi 'ěr wén xué jiǎng， yě shì zhù zuò bèi fān yì chéng yīng wén děng wài guó yǔ bǎn zuì duō de dāng dài zuò jiā。 dàn shì， tā zài 1970 nián shí jí duān jī jìn de zhèng zhì mùdì zì shā jiàn shì shì jiàn， què shǐ tā zài shēn hòu huò dé bāo biǎn bù yī de gè rén píng jià。 shēng píng Life 　　chū shēn 　　 sān dǎo yóu jì fū běn míng píng gāng gōng wēi， 1925 nián（ dà zhèng 14 nián） 1 yuè 14 rì chū shēng yú dōng jīng shì sì gǔ qū yǒng zhù dīng 2 fān dì（ jīn dōng jīng dū xīn sù qū sì gǔ 4 dīng mù）， fù qīn míng wéi píng gāng zǐ， mǔ qīn míng wéi wō wén zhòng， shì jiā zhōng cháng nán， mèi mèi měi jīn zǐ yǔ dì dì qiān zhī fēn bié shì zài 1928 nián yǔ 1930 nián chū shēng。 sān dǎo de zǔ mǔ xià zǐ jù yòu rì běn guì zú xuè tǒng， shì shuǐ hù fān fān zhù de wài sūn nǚ， céng zài rì běn huáng shì yòu qī chuān gōng jiā zhōng xué xí guò lǐ yí， shì gè chōng mǎn wēi yí dàn què hěn gù zhí、 shén jīng zhì de chuán tǒng nǚ xìng， zǔ fù píng gāng dìng tài láng zé shì bīng kù xiàn nóng jiā chū shēn de wén guān， céng rèn huà tài tīng zhǎngguān（ huà tài shì rì běn duì kù yè dǎo nán bù dì qū de chēng hū， qí guān zhí xiāng dāng yú jīn rì běi hǎi dào de xíng zhèng shǒu cháng）。 sān dǎo zài shàng zhōng xué zhī qián yī zhí shì yǔ zhí zhǎng jiā zú dà quán de zǔ mǔ tóng zhù， yīn wéi guòfèn de bǎo hù yǔ guǎn jiào， gòu chéng tā pín ruò de tǐ zhì yǔ gū dú、 shèn zhì yòu diǎn nǚ xìng huà de rén gé tè zhì。 jiàn kāng shàng tā huàn yòu zì wǒ zhòngdú zhèng， tǐ zhì xiān ruò mǐn gǎn。 zǔ mǔ de xūn táo shǐ tā yòu fēi cháng duō de jī huì jiē chù gē wǔ jì yǔ néng jù děng yì wén huó dòng， zài jiā shàng xǐ hǎo xī fāng wén xué de mǔ qīn zhī gǔ lì， ér dǎ xià rì hòu tā zài xiǎo shuō、 wǔ tái jù jù zuò fāng miàn néng gāo dù zhǎn xiàn de jī chǔ。 　　 yòu shǎo qǐ méng qī 　　 sān dǎo cóng 6 suì kāi shǐ， jiù zài zǔ mǔ de jiān chí xià jìn rù huáng zú xué xiào xué xí yuàn chū děng kē（ xiāng dāng yú xiǎo xué chéng dù） jiù dú， bìng qiě zài xué yuàn de nèi bù kān wù shàng fā biǎo shī gē yǔ pái jù zuò pǐn。 12 suì shí chū děng kē bì yè hòu jìn rù zhōng děng kē， jiā rù wén yì bù， zài 1937 nián 7 yuè yú xiào nèi wén xué zá zhì《 xué xí yuàn fǔ rén huì zá zhì》 de 159 qī shàng fā biǎo sǎnwén zuò pǐn《 chūn cǎo chāo～ chū děng kē shí dài de huí yì》（ chūn cǎo chāo～ chū děng kē shí dài の sī ひ chū）， bìng qiě zài zhī hòu jiù dú xué xí yuàn zhōng děng yǔ gāo děng bù de 6 nián jiān， chí xù fā biǎo gèng duō shī gē、 xiǎo shuō、 xìqǔ fāng miàn de chuàng zuò。 　　1938 nián shí， sān dǎo zài《 fǔ rén huì zá zhì》 de 161 qī shàng fā biǎo liǎo tā gè rén de dì yī bù duǎn piān xiǎo shuō《 suān mó》（ suān mó ( す か ん ぽ う )～ qiū yànの yòu き sīひ chū）。 gé nián de 1939 nián（ zhāo hé 14 nián）， duì tā yǐng xiǎng shēn yuǎn de zǔ mǔ zài 1 yuè 18 rì shí shì shì， xiǎng nián 64 suì， ér tóng nián dì 'èr cì shì jiè dà zhàn zhèng shì quán miàn kāi zhàn， dàn duì yú sān dǎo de chuàng zuò shēng yá zuì yòu yǐng xiǎng de yī jiàn shì， què yīnggāi shì tā yù dào liǎo dān rèn qí guó wén lǎo shī de qīng shuǐ wén xióng， hòu zhě kě shuō shì zhēn zhèng cù dòng sān dǎo zhèng shì jìn rù wén xué jiè de bó lè。 　　1940 nián， sān dǎo kāi shǐ yǐ“ píng gāng qīng chéng” de pái hào yǔ bǐ míng， fā biǎo liǎo bāo kuò《 shān zhī》（ quan ち な し） zài nèi de pái jù yǔ shī gē zuò pǐn， tā zài shī gē fāng miàn de chuàng zuò néng lì fēi cháng qiáng， cháng cháng yī tiān jiù kě yǐ xiě chū hǎo jǐ shǒu， yīn cǐ zài zhè nián jì shí jiù yòu néng lì fā biǎo《 shí wǔ suì shī jí》 zhè bān de hé jí zuò pǐn。 zài tóng nián de fǔ rén huì zá zhì 166 qī zhōng， tā fā biǎo liǎo lìng wài yī piān duǎn piān xiǎo shuō《 cǎi huì bō lí》（ cǎi huì xiāo zǐ ( だ み え が らす )）。 　　 zhàn shí qīng chūn qī 　　1941 nián， 16 suì de sān dǎo huò xuǎn dān rèn《 fǔ rén huì zá zhì》 de zhù biān， kāi shǐ zhuàn xiě zhōng piān xiǎo shuō《 bǎi huā nù fàng de sēn lín》（ huā ざか りの sēn）， dāng shí tā de guó wén lǎo shī qīng shuǐ zài kàn liǎo tā de zuò pǐn hòu dà biǎo jī shǎng， tuī jiàn tóu gǎo zì jǐ zài cānyù de wén xué tóng rén zhì《 wén yì wén huà》， bìng qiě shǐ yòng“ sān dǎo yóu jì fū ” de bǐ míng， zhè yě shì sān dǎo zhè míng zì zhèng shì dēng chǎng de qì jī。 zhī hòu tā lù xù zài gāi zhì shàng fā biǎo duō piān gè lèi zuò pǐn， 1942 nián tā xuǎn zé liǎo xué xí yuàn gāo děng kē wén kē yǐ lèi de dà xué yù kē jì xù shēng xué， zhù xiū dé yǔ， bìng qiě chí xù yǔ《 wén yì wén huà》 de yǒu rén jiāo liú， ér yīn cǐ shòu dào rì běn làng màn pài wén xué de xūn táo。 　　1944 nián dì 'èr cì shì jiè dà zhàn jìn rù zuì hòu jiē duàn， rì běn de chǔjìng kāi shǐ jí zhuǎn zhí xià， sān dǎo yóu jì fū yě shōu dào zhēng bīng jiǎn chá tōng zhī pàn dìng shì dì 'èr yǐ zhǒng tǐ wèi， xū yào suí shí děng dài zhēng zhào。 tóng nián tā yǐ dì yī míng de chéng jì cóng xué xí yuàn gāo děng kē bì yè， shòu dào tiān huáng bān jiǎng zèng yǔ yín shǒu biǎo， yǔ rì běn zhù dé dà shǐ kuì zèng de wén xué shū sān cè。 1944 nián 10 yuè， sān dǎo yóu jì fū de duǎn piān xiǎo shuō《 bǎi huā nù fàng de sēn lín》 yóu qī zhàng shū yuàn yìn shuà chū bǎn， chéng wéi tā de chū dào zuò pǐn， cóng cǐ yǐ hòu tā cóng yī gè yè yú de wén xué chuàng zuò zhě zhèng shì jìn rù liǎo zhuān yè zuò jiā de lǐng yù。 gé yuè tā huò dé tuī jiàn jìn rù dōng jīng dì guó dà xué fǎ xué bù fǎ lǜ xué kē jiù dú， zhù xiū dé guó fǎ lǜ， yě yóu yú zhè shēn fèn zàn shí miǎn chú shòu zhēng zhào rù wǔ de bì yào。 　　1945 nián rì běn zài zhàn jú zhōng yǐ chǔyú qiáng nǔ zhī mò de jìng dì， sān dǎo yóu jì fū zhōng yú hái shì bèi zhēng zhào， shǒu xiān shì xiān zhì qún mǎ xiàn lì shǔ zhōng dǎo fēi xíng jī de bīng gōng chǎng dān rèn qín láo dòng yuán， yòu mǎ shàng bèi zhèng shì zhēng rù jūn wǔ。 dàn yóu yú zài zhǔn bèi chū fā cān zhàn zhī qián lí huàn yán zhòng de gǎn mào， jūn yī wù zhěn yǐ wéi shì fèi bìng， jiēguǒ bèi mǎ shàng qiǎn sòng huí xiāng。 yě yòu yán jiū rèn wéi shì sān dǎo yòu yì táo fú bīng yì。 tā yuán běn suǒ shǔ de bù duì zài dǐ dá fěi lǜ bīn hòu， zài zhàn zhēng zhōng yán zhòng zhé sǔn jīhū quán jūn fùmò， shǐ dé sān dǎo yī zhí yòu zì jǐ shì yīnggāi zhuàng liè wèiguó xī shēng dàn què gǒu huó de mǒu zhǒng yí hàn xīn tài， zhè kě néng yǔ tā shì shì qián jī liè de zhèng zhì zhù zhāng yǔ zuì hòu xì jù xìng de zì shā shì jiàn yòu suǒ guān lián， yě duì qí rì hòu de chuàng zuò měi xué chǎn shēng liǎo jí dà yǐng xiǎng， sān dǎo běn rén shuō guò， rèn wéi tā men zhè yī dài rén shì zhàn zhēng de shòu hài zhě shì bù zhǔn què de。 　　 suī rán táo guò liǎo sǐ wáng de mìng yùn， dàn shì 1945 nián duì yú sān dǎo lái shuō shì hěn shāng tòng de yī nián， 8 yuè 15 rì rì běn xuān bù bài zhàn tóu jiàng， sì tiān zhī hòu sān dǎo zài《 wén yì wén huà》 de hǎo yǒu lián tián shàn míng， yǐ lù jūn zhōng wèi de shēn fèn zài mǎ lái bàn dǎo zì shā。 tóng nián 10 yuè 23 rì sān dǎo de mèi mèi měi jīn zǐ yīn wéi shāng hán bìng shì（ qí《 ài de jī kě》 zhōng yuè zǐ de zhàng fū liáng fǔ de sǐ wáng miáo xiě jiù shì gēn jù qí mèi de sǐ wáng xiàn chǎng zuò wéi lán běn lái miáo xiě de）， shí nián jǐn 17 suì。 zhǒng zhǒng dǎ jī， shǐ dé sān dǎo xiàn rù liǎo rén shēng de dī cháo。 　　 jìn rù wén tán 　　1946 nián， shí nián 21 suì de sān dǎo yóu jì fū ， jiè zhù jì xù xiě zuò lái bǎi tuō xīn zhōng de shāng tòng。 tā dài zhù zì jǐ wán chéng de zhōng piān xiǎo shuō《 zhōng shì》 yǔ duǎn piān xiǎo shuō《 yān cǎo》 dào lián cāng bài fǎng rì běn dāng shí de wén xué jù bò chuān duān kāng chéng， zài chuān duān de tuī jiàn xià，《 yān cǎo》 yī zuò zài chuān duān suǒ shǔ de lián cāng wén kù zá zhì《 rén jiān》 de dì 1 juàn dì 6 qī shàng fā biǎo， ér qiě sān dǎo yě huò dé néng zì yóu cānyù lián cāng wén kù de zī gé， jīng cháng xìng dì zài《 rén jiān》 shàng fā biǎo zuò pǐn， bìng qiě shòu dào dāng shí gāi zá zhì de zhù biān mù cūn dé sān zhī zhǐ dǎo bāng zhù。 zài chuān duān kāng chéng de bāng zhù xià， sān dǎo yóu jì fū zhōng yú huò dé jìn shēn wén tán yī yuán de dì wèi， yīn cǐ duì tā 'ér yán chuān duān shì gè yì shī yì yǒu de zhòng yào rén wù， liǎng rén zhī jiān de shī tú zhī yì shèn zhì dào liǎo sǐ shí dū hái yòu qiān lián。 　　1947 nián， sān dǎo zì dōng jīng dà xué fǎ xué bù bì yè， tōng guò gāo děng wén guān kǎo shì， suí hòu jìn rù dàzàng shěng rèn zhí， zài yínháng jú guó mín chǔ xù kè fú wù。 zài zhè qī jiān tā yě cānyù liǎo dàzàng shěng cái wù xié huì de jī gòu nèi bù zá zhì《 cái zhèng》 de biān ji， bìng qiě chí xù de zài gè zhǒng wén xué chuàng zuò de kān wù shàng fā biǎo zuò pǐn， 1948 nián 9 yuè， wèile zhuān xīn chuàng zuò， tā jué xīn cóng dàzàng shěng cí zhí， kāi shǐ yī gè zhuān zhí zuò jiā de shēn fèn。 cí zhí hòu tā xiān shì wán chéng bìng fā biǎo liǎo shēng píng dì yī gè cháng piān xiǎo shuō zuò pǐn《 dào zéi》（ zhēn guāng shè chū bǎn）， bìng qiě kāi shǐ zhù shǒu xīn shū《 jiǎ miàn de gào bái》（ fǎn miànの gào bái） de zhuàn xiě， zhè běn shū zài 1949 nián 7 yuè zhèng shì fù zǐ yóu hé chū shū fáng chū bǎn， shì sān dǎo yóu jì fū yǐ zhuān yè zuò jiā de shēn fèn， dì yī běn fā biǎo de xiǎo shuō zuò pǐn。 　　1950 nián sān dǎo chū bǎn cháng piān xiǎo shuō《 ài de kě wàng》（ àiの kěき， xīn cháo shè chū bǎn）， zhè duàn qī jiān tā kāi shǐ cháng shì yǐ zhēn shí fā shēng de shè huì shì jiàn lái zuò wéi chuàng zuò duì xiàng， lì rú dāng shí tā kāi shǐ zhuàn xiě de cháng piān《 qīng sè shí dài》（ qīngの shí dài） jiù shì yǐ yī gè dōng dà xué shēng dāng dì xià yínháng shè cháng， zuì hòu yīn wéi shī bài 'ér zì shā de shì jiàn zuò wéi tí cái。 zhè yī nián 7 yuè fā shēng jiàn xí sēng rén zì fén bìng fàng huǒ shāo huǐ jīng dū lù yuàn sì（ jīn gé sì） de zhòng dà shè huì shì jiàn， zhè jiàn shì yě yóu sān dǎo qǔ cái、 rì hòu chéng jiù liǎo tā bì shēng zuì jù dài biǎo xìng de chéng míng zhī zuò。 　　 chú liǎo shī cí、 sǎnwén yǔ xiǎo shuō děng wén xué chuàng zuò wài， sān dǎo duì yú xìqǔ fāng miàn de chuàng zuò yě yòu gāo dù de xīng qù。 tā céng biān xiě guò《 cǎi hóng》（ あ や め， 1948 nián 5 yuè），《 huǒ zhái》（ 1948 nián 11 yuè） yǔ《 dēng tái》（ 1949 nián 5 yuè） děng xìqǔ jù běn， qí zhōng《 dēng tái》 yī zuò hái shí jì yóu dà bǎn fàng sòng jù tuán zài dì sì huí de guān xī shí yàn jù chǎng zhōng gōng kāi yǎn chū。 1950 nián shí tā yòu wán chéng《 mó shén lǐ bài》 yǔ《 jìn dài néng lè jí》 de dì yī piān －－《 hán dān》（ hán dān（かん たん）～ jìn dài néng lè jíの nèi） děng liǎng bù xìqǔ zuò pǐn， zài zhè nián de 9 yuè shí， sān dǎo jiā rù liǎo bāo kuò 'àn tián guó shì、 fú tián héng cún、 xiǎo lín xiù xióng、 qiān tián shì yě、 dà gāng shēng píng yǔ zhōng cūn guāng fū děng wén tán míng rén suǒ zǔ zhì de“ yún zhī huì”（ yúnの huì）， yǐ“ wén xué lì tǐ huà yùn dòng” zuò wéi tā men de zhù yào zōng zhǐ， shì gè yǐ yǎn jù fāng miàn de huó dòng wéi zhōng xīn de zǔ zhì。 　　 yóu sān dǎo dān rèn jù běn yuán zuò， huò yǐ tā de zuò pǐn gǎi biān dēng shàng dà yíng mù de qíng kuàng， duì yú xiàng zhè yàng duō chǎn de zuò jiā 'ér yán shì zhèng cháng de， dàn shì chú liǎo diàn yǐng yuán zuò wài， sān dǎo yóu jì fū hái yòu gè bǐ jiào bùwèi rén zhī de shēn fèn， nà jiù shì diàn yǐng yǎn yuán。 tā de gè rén shǒu cì dà yíng mù dēng chǎng， shì zài 1951 nián 8 yuè 29 rì shàng yìng de《 chún bái zhī yè》（ chún báiの yè）， zhè bù yóu sōng zhú dà chuán shè yǐng suǒ chū pǐn， dà tíng xiù xióng dǎo yǎn de diàn yǐng shì yóu sān dǎo dān rèn yuán zuò， bìng qiě zài yǐngpiān zhōng dān rèn liǎo tè bié yǎn chū。 cǐ wài， sān dǎo hái zài qí zuì xǐ 'ài de xiǎo shuō《 yōu guó》 gǎi biān de diàn yǐng zhōng chū yǎn zhōng wèi yī jiǎo， dàn《 yōu guó》 diàn yǐng yǐ bèi jìn yìng， wéi yī de jiāo piàn yǐng xiǎng zī liào yóu qí qī shōu cáng。 　　1951 nián nián dǐ， sān dǎo fā biǎo liǎo cháng piān xiǎo shuō《 jìn sè》 de dì yī bù（ xīn cháo shè chū bǎn）， yǔ《 xià zǐ de mào xiǎn》（ xià zǐの mào xiǎn， zhāorì xīn wén shè）。 qí zhōng yīn wéi《 jìn sè》 de nán zhùjué shì gè tóng xìng liàn zhě， zài dāng shí bǎo shǒu de rì běn shè huì shì jiào wéi sǒng dòng de tí cái， yīn cǐ shí xià de yú lùn dū jiāng gù shì zhōng de zhùjué shì wéi shì sān dǎo běn rén zài xìng xiàng fāng miàn de yǐng shè。 zài wán chéng liǎo《 jìn sè》 dì yī bù zhī hòu， zài cháo rì xīn wén chū bǎn jú cháng jiā zhì lóng yī de xié lì xià， sān dǎo huò dé zhāorì xīn wén tè bié tōng xùn yuán de jì zhě shēn fèn， yú 12 yuè 25 rì zì héng bīn dā chuán chū hǎi， kāi shǐ tā huán yóu shì jiè yī zhōu de lǚ tú， bìng zài 1952 nián 5 yuè 10 rì huí dào rì běn。 zhè cì de lǚ xíng shì sān dǎo bì shēng dì yī cì chū guó， duì yú tā 'ér yán， zài xī là suǒ huò dé duì yú xī fāng wén míng de měi xué jīng yàn， kě néng shì zào chéng tā rì hòu zuò pǐn zhòng dà zhuǎn lì de guān jiàn。 tā zài 1952 nián de 10 yuè fā biǎo yóu jì《 ā bō luó zhī bēi》（ ア ポ ロの bēi， zhāorì xīn wén shè chū bǎn）， jì shù liǎo tā de jiàn wén yǔ duì yú měi de guān diǎn。 　　 dēng shàng diān fēng 　　1952 nián duì yú sān dǎo lái shuō shì gè hěn duō chǎn de yī nián， bù guò yīn wéi tā de huán yóu shì jiè zhī gù， zhè yī nián zhī zhōng dà bù fēn fā biǎo de zuò pǐn， dōushì yóu jì xíng tài zhī zuò。 bù guò， tā réng rán méi yòu wàng què chún wén xué de chuàng zuò， zài guī guó hòu bù jiǔ wán chéng liǎo《 jìn sè》 xì liè de dì 'èr bù， cháng piān xiǎo shuō《 mì lè》（ mì lè（ひ ぎ ょう）～ jìn sè dì 2 bù， zài gé nián 9 yuè yóu xīn cháo shè chū bǎn）。 1953 nián 1 yuè《 xià zǐ de mào xiǎn》 tóng yàng yóu sōng zhú dà chuán jìn xíng liǎo diàn yǐng huà， suí hòu fā biǎo cháng piān xiǎo shuō《 rì běn zhì》（ に っぽん zhì， zhāorì xīn wén shè chū bǎn）， bìng qiě kāi shǐ wèile cháng piān xiǎo shuō《 cháo sāo》 de qǔ cái， bài fǎng wèi yú sān zhòng xiàn de shén dǎo。 cháo sāo yī shū zài 1954 nián 6 yuè yóu xīn cháo shè chū bǎn， bìng qiě kāi shǐ diàn yǐng huà de gōng zuò， yú 10 yuè yóu dōng bǎo wán chéng pāi shè 'ér shàng yìng。 xiǎo shuō yǔ diàn yǐng zài tuī chū hòu dà shòu hǎo píng， gāi nián nián dǐ xīn cháo shè chéng lì dì yī jiè de xīn cháo shè wén xué shǎng， sān dǎo kào zhù《 cháo sāo》 yī shū ná xià shǒu jiè de dà jiǎng。 　　1955 nián， shí nián 30 suì de sān dǎo， gǎn shòu dào zì jǐ duì yú měi de chōng jǐng， kāi shǐ shàng jiàn shēn fáng yùn dòng， yǐ qī jiāng zì yòu yǐ lái càn ruò de shēn tǐ gǎi zào dé qiáng jiàn， ràng zì jǐ bù zài wéi ròu tǐ de zì bēi 'ér gǎn dào kùn rǎo。 cǐ xīn tài qí shí yǔ tā zài zhè yī nián zhōng qián xīn zhuàn xiě de cháng piān míng zhù《 jīn gé sì》 yòu suǒ guān lián， yīn wéi gāi shū zhōng de zhùjué jiù shì yī gè zì cán yú wài biǎo shàng de wěi suǒ dàn yòu chóng shàng jí zhì de měi， dǎo zhì nèi xīn niǔ qū yǔ huàn miè de shàonián， kě yǐ shuō zuò zhě zài xiàn shí zhōng de xiǎng fǎ， wán quán shì yǔ tā de chuàng zuò nèi róng hù xiāng hū yìng。 　　1956 nián shì sān dǎo zuì fēng shōu de yī nián， jīng guò liǎo yī nián de qián chén 'ér wán chéng de《 jīn gé sì》 zài 10 yuè yóu xīn cháo shè chū bǎn hòu， huò dé jīng rén de huí xiǎng， zài tóng shí tā de xìqǔ zuò pǐn《 lù míng guǎn》 zài wén xué zuò chuàng lì 20 zhōu nián jì niàn huì shàng gōng yǎn， kě shuō shì liǎng miàn fēng guāng。 dàn tā yǔ rì běn dà xué quán dǒu shè de xiǎo dǎo zhì xióng jié shí， kāi shǐ wéi qī 8 gè yuè de quán jī liàn xí， kě néng cái shì hěn nán yǔ yī gè zuò jiā yòu suǒ guān lián de tè shū zuò wéi。 zhè yī nián， sān dǎo de《 cháo sāo》 yī shū bèi fān yì wéi yīng yǔ bǎn（ yīng yǔ shū míng TheSoundofWaves， yì zhě MeredithWeatherby） zài měi guó chū bǎn， shì tā de xiǎo shuō dì yī cì bèi zhèng shì fān yì wéi wài yǔ bǎn běn。 　　1957 nián 1 yuè， sān dǎo yǐ jīn gé sì huò dé dì 8 jiè dú mài wén xué shǎng de dà jiǎng， zài zhè yī nián zhōng， sān dǎo kāi shǐ liǎo tā yǔ xī fāng wén xué jiè de gāo dù hù dòng。 zhè nián měi guó de rì běn wén xué jiā táng nuò • jīn 'ēn（ DonaldKeene） jiāng sān dǎo de《 jìn dài néng lè jí》 fān yì chéng yīng wén bǎn， zài měi guó chū bǎn， tè bié yāo qǐng sān dǎo dào měi guó cān fǎng bìng qiě zài mì xī gēn dà xué yǐ《 rì běn wén tán de xiàn zhuàng yǔ xī yáng wén xué jiān de guān xì》（ rì běn wén tánの xiàn zhuàng と xī yáng wén xuéとの guān xì） fā biǎo yǎn shuō， zhī hòu qián wǎng lā dīng měi zhōu yóu lì hòu zài cháng zhù niǔ yuē， zhí dào gé nián 1 yuè cái fǎn huí rì běn。 　　 zì shā 　　 sān dǎo duì rì běn chuán tǒng de wǔ shì dào jīng shén hé yán lì de 'ài guó zhù yì shēn wéi zàn shǎng， duì rì běn zhàn hòu shè huì de xī huà hé rì běn zhù quán shòu zhì yú wài guó fēi cháng bù mǎn。 sān dǎo 1965 nián yǐ zì jǐ de xiǎo shuō《 yōu guó》 wéi lán běn zì biān zì yǎn de tóng míng diàn yǐng yù shì liǎo tā de jié jú。 yǐngpiān zhōng yī wèi zhōng yú tiān huáng de rì běn shàng wèi zài 1936 nián de zhèng biàn shī bài hòu qiē fù zì shā。 1968 nián， sān dǎo zǔ zhì liǎo zì jǐ de sī rén wǔ zhuāng héng héng“ dùn huì”， shēng chēng yào bǎo cún rì běn chuán tǒng de wǔ shì dào jīng shén bìng qiě bǎo wèi tiān huáng。 jīng guò cháng shí jiān de zhǔn bèi， sān dǎo yú 1970 nián 11 yuè 25 rì jiāng tā zhèng biàn de jìhuà fù zhū shí shī。 dāng tiān sān dǎo jiāo fù liǎo《 fēng ráo zhī hǎi》 de zuì hòu yī bù， suí hòu dài lǐng 4 míng dùn huì chéng yuán zài rì běn lù shàng zì wèi duì dōng bù zǒng jiān bù jiāng shī tuán cháng bǎng jià wéi rén zhì。 sān dǎo zài zǒng jiān bù yáng tái xiàng 800 duō míng zì wèi duì shì guān fā biǎo yǎn shuō， hūyù“ zhēn de wǔ shì” suí tā fā dòng bīng biàn， tuī fān fǒu dìng rì běn yōng yòu jūn duì de xiàn fǎ， shǐ zì wèi duì chéng wéi zhēn de jūn duì yǐ bǎo wèi tiān huáng hé rì běn de chuán tǒng， dàn shì méi yòu rén xiǎng yìng。 　　 sān dǎo suí hòu cóng yáng tái tuì rù shì nèi， àn zhào rì běn chuán tǒng yí shì qiē fù zì shā。 sān dǎo yóu jì fū zài 'é jì jìshàng liǎo xiě zhe“ qī shēng bào guó” zì yàng de tóu jīn， yòng bái sè de bù jiāng yù bèi qiē fù de bù wèi yī juàn juàn jǐn jǐn dì guǒ zhù， ná qǐ duǎn dāo wǎng zì jǐ de fù bù cì xià， gē chū liǎo yī gè hěn dà de shāng kǒu， cháng zǐ cóng shāng kǒu liú chū lái。 suí tā tóng lái de liǎng wèi dùn huì chéng yuán zhī yī de sēn tián bì shèng yòng míng dāo“ guān sūn liù” wéi sān dǎo jìn xíng jiè cuò， dàn lián kǎn shù cì dū wèi néng kǎn xià tā de tóu lú， sān dǎo yóu jì fū nán rěn tòng chǔ， shì tú yǎo shé zì jìn， dì sì cì jiè cuò gǎi yóu xué xí guò jū hé dào de dùn huì chéng yuán gǔ hè hào jìng zhí xíng， zhōng yú chéng gōng。 zhī hòu sēn tián bì shèng yě qiē fù zì shā（ yì shì yóu gǔ hè hào jìng jìn xíng jiè cuò）。 qí tā sān míng chéng yuán yǐ“ wěi tuō shā rén zuì” gè pàn chù sì nián de yòu qī tú xíng。 sān dǎo yóu jì fū qiē fù zì shā shí， bù shǎo zuò jiā gǎn dào xiàn chǎng， zhǐ yòu chuān duān kāng chéng huò zhǔn jìn rù， dàn méi jiàn dào shī tǐ。 zhè gè shì jiàn ràng chuān duān hěn shòu cì jī， tā duì xué shēng biǎo shì：“ bèi kǎn xià nǎo dài de yīnggāi shì wǒ”。 sān dǎo zì shā zhī hòu 17 gè yuè， tā yě xuǎn zé hán méi qì guǎn zì shā， wèi liú xià zhǐ zì yí shū。 liǎng rén xiāng jì zì shā liú gěi liǎo hòu rén wú shù de yí wèn。 píng jià Evaluate 　　 sān dǎo yóu jì fū de wén xué huó dòng， dà zhì yǐ 60 nián dài wéi jiè， fēn wéi qián hòu liǎng qī。 qián qī wéi měi zhù yì sè cǎi jiào nóng， hòu qī biǎo xiàn chū yī zhǒng kě pà de yì shù qīng xié hé diān dǎo。 qián qī zhù yào shòu 20 shì jì chū fǎ guó zuò jiā léi méng • lā dí kǎi（ 1903 yī 1923） hé 19 shì jì yīng guó zuò jiā wáng 'ěr dé（ 1854～ 1900） de yǐng xiǎng， dà duō miáo xiě qīng nián nán nǚ de xìng kǔ mèn hé làng màn de 'ài qíng gù shì， yǐ bù shǎo bǐ mò kè huà biàn tài xīn lǐ hé fēng liú yùn shì。 dài biǎo zuò yòu《 xū jiǎ de gào bái》（ 1949）、《 cháo sāo》（ 1954）、《 zhì hè sì shàng rén zhī liàn》（ 1954）、《 jīn gé sì》（ 1956） děng。 　　1970 nián 11 yuè， sān dǎo yóu jì fū shān dòng jūn duì zǔ zhì wǔ zhuāng zhèng biàn shī bài， qiē fù zì shā。 tā shì yī gè zài zhèng zhì sī xiǎng shàng miù wù duō duān、 zài yì shù shàng de chéng jiù yòu bù róng mǒ shā de fù zá rén wù。 　　 sān dǎo yǔ chuān duān kāng chéng、 gǔ qí rùn yī láng、 ān bù gōng fáng yǐ jí hòu lái de dé nuò bèi 'ěr jiǎng de dà jiāng jiàn sān láng děngdōu shì zài guó jì jiān wén míng de rì běn zuò jiā， qí zhōng sān dǎo de yǐng xiǎng lì shì zuì dà de， chú liǎo yīn wèitā zì jǐ jī jí fèi xīn nǔ lì， ràng zì jǐ zhuī qiú měi de xiǎo shuō děng shì bèi fān yì chéng zuì duō wài yǔ bǎn běn zhī wài， tā de xìqǔ zuò pǐn rú《 shā dù bó jué fū rén》， huò shì《 jìn dài néng lè jí》 děng bù duàn zài rì běn yǐ jí fǎ guó děng zhū wài guó shàng yǎn， shì zuì wéi duō cǎi liàng lì de yī wèi zuò jiā， dàn shì yīn wéi tā de zì rèn de sǐ fǎ， yǔ jiè chuān lóng zhī jiè huò shì tài zǎi zhì xuǎn zé xiāng dāng wén xué de shén mì de sǐ zhī yí shì bù yī yàng， sān dǎo zài zì jǐ sì shí wǔ suì， zhī míng dù yǐ jīng dēng shàng shì jiè dǐng fēng， chéng wéi 「 shì jiè yī bǎi rén 」 zhōng wéi yī bèi xuǎn chū lái de rì běn rén， tā de yì shù jiā dì wèi yì lì， měi guó rén chēng tā wéi「 rì běn de hǎi míng wēi」 děng， dàn shì zài cǐ dāng 'ér， tā duì jìn xíng jūn shì xùn liàn de yòu yì tuán tǐ de tóng zhì liú xià xí wén， bìng zài cí shì zhī gē tuō fù liǎo zì jǐ「 jiàn shì」 de gǎn huái， bìng chōng jìn lù shàng zì wèi duì dōng bù zǒng jiān shì， rán hòu zài yáng tái shàng hūyù zì wèi duì duì yuán qǐ yì， rán hòu yòng rì běn chuán tǒng de fāng fǎ zì jìn， yīn wéi shì rú cǐ de sǐ fǎ， ràng sān dǎo wén xué cóng tā sǐ de shā nà qǐ biàn nì guāng sì shè， rú guǒ bù jiāng sān dǎo yóu jì fū de sǐ lěng jìng dì kè guān huà de huà， shì wú fǎ zhèng què dì rèn shí sān dǎo wén xué de。 zuò pǐn liè biǎo List of works 　　míng chēng xiě zuò nián dài yīng yì zhě , nián dài 　　 fǎn miànの gào bái（ ConfessionsofaMask， jiǎ miàn de gào bái） 1948MeredithWeatherby,1958 　　 àiの kěき（ ThirstforLove， ài de kě wàng） 1950AlfredH.Marks,1969 　　 jìn sè（ ForbiddenColors， jìn sè） 1954AlfredH.Marks,1951-1953 　　 cháo sāo（ TheSoundofWaves， cháo sāo） 1954MeredithWeatherby,1956 　　 jīn gé sì（ TheTempleoftheGoldenPavilion， jīn gé sì） 1956IvanMorris,1959 　　 jìng zǐの jiā（ Kyoko'sHouse， jìng zǐ zhī jiā） 1959 　　 yànのあと（ AftertheBanquet） 1960DonaldKeene,1963 　　 wǔ hòuの yè háng（ TheSailorWhoFellfromGracewiththeSea， wǔ hòu de yè háng） 1963JohnNathan,1965 　　 サ ド hóu jué fū rén（ MadamedeSade） 1965DonaldKeene,1967 　　 zhēn xiàの sǐ（ DeathinMidsummerandotherstories） 1966 　　 わが yǒu ヒ ッ ト ラ ー（ MyFriendHitlerandotherplays） 1966HiroakiSato,2002 　　 tài yángと tiě（ SunandSteel， tài yáng hé tiě） 1970JohnBester 　　 lǐ rángの hǎi：（ TheSeaofFertilitytetralogy， fēng ráo zhī hǎi） 1964-1970 　　 zhī yī : chūnの xuě（ SpringSnow， chūn xuě） 1966MichaelGallagher,1972 　　 zhī 'èr : bēn mǎ（ RunawayHorses， bēn mǎ） 1969MichaelGallagher,1973 　　 zhī sān : xiǎoの sì（ TheTempleofDawn， xiǎo sì） 1970E.DaleSaundersandCeciliaS.Seigle,1973 　　 zhī sì : tiān rén wǔ shuāi（ TheDecayoftheAngel， tiān rén wǔ shuāi） 1970EdwardSeidensticker,1974 　　 yè yǐn rù mén（ TheWayoftheSamurai， yè yǐn rù mén） 1970KathrynSparling,1977 　　 sān xióng yě yì（ ModeActsofWorship） 1970JohnBester,1995 　　 juànと míng chá（ SilkandInsight） 1970HiroakiSato,1998 　　【 diàn yǐng】 　　 yuán zuò 　　 zhì zuò nián zuò pǐn míng zhì zuò（ pèijǐ） dǎo yǎn zhù yào yǎn yuán 　　1953 nián xià zǐの mào xiǎn（ ※ カラー yìng huà） sōng zhú dà chuán zhōng cūn dēng ruò yuán yǎ fū jiǎo lí zhī zǐ　 gāo qiáo zhēn 'èr　 guì mù yáng zǐ dàn lù huì zǐ 　　1953 niánにっぽん zhì dà yìng dōng jīng dǎo gēng 'èr shān běn fù shì zǐ sān tián lóng　 shàng yuán qiān 　　1954 nián cháo sāo dōng bǎo gǔ kǒu qiān jí jiǔ bǎo míng qīng shān jīng zǐ sān chuán mǐn láng 　　1957 nián yǒngすぎた chūn dà yìng dōng jīng tián zhōng zhòng xióng ruò wěi wén zǐ chuān kǒu hào chuán yuè yīng 'èr jiǎo lí zhī zǐ 　　1957 nián měi déの よ ろめき rì huó zhōng píng kāng yuè qiū mèng lù　 yè shān liáng 'èr　 sān guó lián tài láng　 gōng chéng qiān hè zǐ 　　1958 nián yán shàng dà yìng jīng dū shì chuān kūn shì chuān léi zàng　 xīn zhū sān qiān dài　 zhòng dài dá shǐ　 zhōng cūn yù xù 　　1959 nián dēng tái dōng bǎo líng mù yīng fū hé jīn qīng sān láng　 jīn dǎo huì zǐ 　　1961 nián お niáng さん dà yìng dōng jīng gōng xuē tài láng ruò wěi wén zǐ　 tián gōng 'èr láng　 chuān kǒu hào 　　1962 nián hēi xī yì dà yìng dōng jīng jǐng shàng méi cì jīng マ チ zǐ　 dà mù shí　 yè shùn zǐ　 chuān kǒu hào 　　1964 nián jiàn dà yìng jīng dū sān yú yán cì shì chuān léi zàng　 téng yóu jì zǐ 　　1964 nián cháo sāo rì huó sēn yǒng jiàn cì láng jí yǒng xiǎo bǎi hé　 bāng tián guāng fū 　　1964 nián shòuの xì れ dà yìng dōng jīng fù běn zhuàng jí ruò wěi wén zǐ　 hé jīn qīng sān láng 　　1965 nián ròu tǐの xué xiào dōng bǎo mù xià liàng 'àn tián jīn rì zǐ　 shān qí nǔ　 shān cūn cōng　 dōng huì měi zǐ 　　1966 nián fù záな bǐ dà yìng dōng jīng dǎo gēng 'èr tián gōng 'èr láng　 gāo qiú zǐ 　　1967 nián 'àiの kěき rì huó zàng yuán wéi shàn qiǎn qiū ル リ zǐ　 zhōng cūn shēn láng　 shān nèi míng 　　1968 nián hēi xī yì sōng zhú shēn zuò xīn 'èr wán shān míng hóng　 mù cūn gōng　 chuān jīn yòu jiè 　　1971 nián cháo sāo dōng bǎo sēn gǔ sī láng cháo bǐ nài yì rén　 xiǎo yě lǐみ どり 　　1972 nián yīn lè xíng dòng shè /ATG zēng cūn bǎo zào hēi zéのり zǐ　 xì chuān jùn zhī 　　1975 nián cháo sāo dōng bǎo xī hé kè jǐ shān kǒu bǎi huì　 sān pǔ yǒu hé 　　1976 nián jīn gé sì yìng xiàng jīng dū /ATG gāo lín yáng yī xiǎo tián sān láng　 chái jùn fū 　　1976 nián wǔ hòuの yè háng rì běn ヘラルド yìng huà 　　1980 nián xìng fú hào chū fān dōng yìng zhāi téng gēng yī téng zhēn lì zǐ　 cāng yuè yī láng 　　1985 nián cháo sāo リ qǐ huà / dōng bǎo xiǎo gǔ chéng jìng kūちえみ　 hè jiàn chén wú 　　1986 nián lù míng guǎn MARUGEN-FILM/ dōng bǎo shì chuān kūn qiǎn qiūルリ zǐ　 jiān yuán wén tài　 sān qiáo dá yě 　　2005 nián chūnの xuě dōng bǎo xíng dìng xūn qī fū mù cōng　 zhú nèi jié zǐ　 ruò wěi wén zǐ　 zhēn yě xiǎng zǐ 　　 chū yǎn 　　 zhì zuò nián zuò pǐn míng zhì zuò（ pèijǐ） jiān dū míng yǎn chū juésè zhù yào yǎn yuán bèi kǎo 　　1951 nián chún báiの yè sōng zhú dà chuán dà tíng xiù xióng tè bié chū yǎn hé jīn qīng sān láng　 mù mù shí qiān dài※ yuán zuò 　　1959 nián bù dào dé jiào yù jiǎng zuò rì huó xī hé kè jǐ tè bié chū yǎn dà bǎn zhì láng　 xìn xīn sān※ yuán zuò 　　1960 niánからっ fēng yě láng dà yìng dōng jīng zēng cūn bǎo zào cháo bǐ nài wǔ fū ruò wěi wén zǐ　 chuán yuè yīng 'èr zhì cūn qiáo※ zhù yǎn zuò pǐn 　　1968 nián hēi xī tāng sōng zhú dà chuán shēn zuò xīn 'èr rì běn qīng niánの shēng rén xíng wán shān míng hóng（ měi lún míng hóng） mù cūn gōng※ jù huà jù qū 　　1969 nián rén zhǎnり フ ジ テ レ ビ / shèng プロ wǔ shè yīng xióng tián zhōng xīn bīng wèi shèng xīn tài láng　 zhòng dài dá shǐ shí yuán yù cì láng※ chū yǎn 　　 jiān dū 　　 zhì zuò nián zuò pǐn míng zhì zuò（ pèijǐ） yǎn chū juésè zhù yào yǎn yuán bèi kǎo 　　1966 nián yōu guó dōng bǎo /ATG wǔ shān xìn 'èr zhōng wèi hè gāng shū zǐ※ zhì zuò は 1965 nián　 zhì zuò ・ juésè ・ měi shù も 　　【 wǔ tái jù】 　　《 jìn dài néng lè jí zhī ruò fǎ shī》 　　 zhì zuò nián dǎo yǎn zhù yào yǎn yuán 　　2000 nián 2001 nián 2005 nián quán chuān xìng xióng téng yuán lóng yě 　　【 guān fāng wǎng zhàn】 jìn dài néng lè jí http://www.horipro.co.jp/fun/stage/play20.html 　　【 shì pín xīn shǎng】 http://www.tudou.com/programs/view/ELWnIeGu5co/ yīngwénjièshì n.:  Mishima Yukio xiàngguāncí rì běn yīnyuè xiǎo shuō gē shǒu lì shǐ rì běn wén xué yòu yì tuán tǐ wáng xué wáng yáng míng xīn xué rú jiā lǐ xué bāo hán cí měi yǔ bào liè : sān dǎo yóu jì fū de shēng yǔ sǐ