“The so-called 'Left-Hand Path' - that of Kaulas, Siddhas and Viras - combines the... Tantric worldview with a doctrine of the Übermensch which would put Nietzsche to shame... The Vira - which is to say: the 'heroic' man of Tantrism - seeks to sever all bonds, to overcome all duality between good and evil, honor and shame, virtue and guilt. Tantrism is the supreme path of the absolute absence of law - of shvecchacarī, a word meaning 'he whose law is his own will'." ― Julius Evola, The Path of Cinnabar.

“It is necessary to have “watchers” at hand who will bear witness to the values of Tradition in ever more uncompromising and firm ways, as the anti-traditional forces grow in strength. Even though these values cannot be achieved, it does not mean that they amount to mere “ideas.” These are measures…. Let people of our time talk about these things with condescension as if they were anachronistic and anti-historical; we know that this is an alibi for their defeat. Let us leave modern men to their “truths” and let us only be concerned about one thing: to keep standing amid a world of ruins.” ― Julius Evola, Revolt Against the Modern World: Politics, Religion, and Social Order in the Kali Yuga.

“We are born into this time and must bravely follow the path to the destined end. There is no other way. Our duty is to hold on to the lost position, without hope, without rescue, like that Roman soldier whose bones were found in front of a door in Pompeii, who died at his post during the eruption of Vesuvius because someone forgot to relieve him. That is greatness. That is what it means to be a thoroughbred. The honorable end is the one that can not be taken from a man.” ― Oswald Spengler, Man and Technics: A Contribution to a Philosophy of Life.

Tuesday, June 19, 2012

Madame de Sade (1992)

Ingmar Bergman's 1989 stage adaptation of Mishima Yukio's Madame de Sade (1965) was presented at Tokyo's Globe Theatre in 1990 as part of the events commemorating the 20th-anniversary of Mishima's death. Since it was performed in Swedish, Japanese translation was provided via headphones. In Madame de Sade Bergman detects Mishima's interest in both French Neoclassicism (esp. Racine) and Japanese Noh. Although he sees explicit parallels between 18th-century France with its ritualized relationships, garish costumes, and the language of the fan and the equally rigid conventional behavior in the Japanese court, with its rituals and magnificent attire, Bergman considers Mishima's work a modern Noh play in its own right. He admits in interviews that his translation choices aimed to externalize the "dark night" of Mishima's soul as he saw it reflected in the six women awaiting or dreading the Marquis' release from prison (Bergman worked with a literary translation by Gunilla Lindberg-Wada).

Mme de Sade's ritualized and choreographed relationships with her husband, mother, and sister allow Mishima to employ Noh theatrical conventions which he modernizes, pairing up the themes of profound desire and emotional attachment with a universal guilt of doing nothing to oppose evil in a recognizably post-WWII context.

For Bergman, however, Markisinnan becomes a companion piece to his Kvinnors väntan (1952) and Höstsonaten (1978) privileging painful emotional releases of thwarted longing in women's relationships with their lovers or mothers. He also seeks to represent Mishima's persona on par with both Mishima's self-portrait in Confessions of a Mask (1948) and Paul Schrader's controversial Mishima: A Life in Four Chapters (1985). Such conditions might account for Bergman's interpretative transformations of one of Mishima's dominant symbol, the all-consuming fire, into the destructive light of the A-bomb and a reflection of the "total global cynicism" which he detects in western liberal democracy.

Courtesy of SSoiledSSinema

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