Segunda-feira, 17 de Março de 2014

Nas horas que me pertencem

 


Our difficulty becomes even greater when the writer's life—no matter what his country or his culture—has been as varied, rich, impetuous, and sometimes as knowingly plotted as his work, so that one is able to see in both not only the same faults, the same tricks, and the same imperfections but also the same virtues and finally the same greatness. Inevitably, an uneasy balance is established between our interest in the man and our interest in his books. Gone are the days when we could enjoy Hamlet and not interest ourselves in Shakespeare: vulgar curiosity about biographical anecdotes is a characteristic of our time, increased tenfold by the methods of a press and media addressed to a public more and more incapable of reading. All of us tend to seek out not only the writer, who by definition expresses himself in his books, but also the individual, always necessarily manifold, contradictory, and changeable, hidden in some places and visible in others, and finally -perhaps more than the other two—the persona,that reflection or shadow which sometimes the man himself (as was the case with Mishima) projects as a defense or out of bravado, but behind which the human being of flesh and blood lived and died in that impenetrable mystery which is part of every life.
The chances of misinterpretation are many. Let us go on, nevertheless, but let us remember that the central reality must be sought in the writer's work: it is what the writer chose to write, or was compelled to write, that finally matters. And certainly Mishima's carefully premeditated death is part of his work (...)

 

MISHIMA A Vision of the Void de Marguerite Yourcenar

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publicado por C. às 13:38
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