Runaway Horses Quotes

“Perfect purity is possible if you turn your life into a line of poetry written with a splash of blood.”
― Yukio Mishima, Runaway Horses

“The instant that the blade tore open his flesh, the bright disk of the sun soared up and exploded behind his eyelids.”
― Yukio Mishima, Runaway Horses

“If we look on idly, heaven and earth will never be joined. To join heaven and earth, some decisive deed of purity is necessary. To accomplish so resolute an action, you have to stake your life, giving no thought to personal gain or loss. You have to turn into a dragon and stir up a whirlwind, tear the dark, brooding clouds asunder and soar up into the azure-blue sky.”
― Yukio Mishima, Runaway Horses

“Again and again, the cicada’s untiring cry pierced the sultry summer air like a needle at work on thick cotton cloth.”
― Yukio Mishima, Runaway Horses

“[A] nation must ravage itself before foreigners can ravage it, a man must despise himself before others can despise him.”
― Yukio Mishima, Runaway Horses

“Human beings, Isao realized, could descend to communicating their feelings like dogs barking in the distance on a cold night.”
― Yukio Mishima, Runaway Horses

“…but now, along this high, rocky road, it was the leaves of cherry trees that predominated. From the bridge on, these lay like fallen red flowers. Some wet leaves, already decaying, had faded to a pink that was the color of the dawn. Why should decay take the color of the dawn?”
― Yukio Mishima, Runaway Horses

“How oddly situated a man is apt to find himself at age thirty-eight! His youth belongs to the distant past. Yet the period of memory beginning with the end of youth and extending to the present has left him not a single vivid impression. And therefore he persists in feeling that nothing more than a fragile barrier separates him from his youth. He is forever hearing with the utmost clarity the sounds of this neighboring domain, but there is no way to penetrate the barrier.

Honda felt that his youth had ended with the death of Kiyoaki Matsugae. At that moment something real within him, something that had burned with a vibrant brilliance, suddenly ceased to be.
Now, late at night, when Honda grew weary of his legal drafts, he would pick up the dream journal that Kiyoaki had left him and turn over its pages.

(...)

Since then eighteen years had passed. The border between dream and memory had grown indistinct in Honda’s mind. Because the words contained in this journal, his only souvenir of his friend, had been traced there by Kiyoaki’s own hand, it had profound significance for Honda. These dreams, left like a handful of gold dust in a winnowing pan, were charged with wonder.

As time went by, the dreams and the reality took on equal worth among Honda’s diverse memories. What had actually occurred was in the process of merging with what could have occurred. As reality rapidly gave way to dreams, the past seemed very much like the future.
When he was young, there had been only one reality, and the future had seemed to stretch before him, swelling with immense possibilities. But as he grew older, reality seemed to take many forms, and it was the past that seemed refracted into innumerable possibilities. Since each of these was linked with its own reality, the line distinguishing dream and reality became all the more obscure. His memories were in constant flux, and had taken on the aspect of a dream.”
― Yukio Mishima, Runaway Horses

“The law is an accumulation of tireless attempts to block a man's desire to change life into an instant of poetry. Certainly it would not be right to let everybody exchange his life for a line of poetry written with a splash of blood. But the mass of men, lacking valor, pass away their lives without ever feeling the least touch of such a desire.”
― Yukio Mishima, Runaway Horses

“Blood and flowers were alike, Isao thought, in that both were quick to dry up, quick to change their substance. And precisely because of this, then, blood and flowers could go on living by taking on the substance of glory. Glory in all its form was inevitably something metallic.”
― Yukio Mishima, Runaway Horses

“He was always thinking of death, and this had so refined him that the physical seemed to fall away, freeing him from the pull of earth and enabling him to walk about some distance above its surface. Indeed he felt that even his distaste and hatred for the affairs of the world no longer stirred him deeply.”
― Yukio Mishima, Runaway Horses

“Two men may talk together enthusiastically for an hour or so about shared experiences, and yet not have a true conversation. A lonely man who wants to indulge his nostalgic mood feels the need of someone with whom to share it. When he finds such a companion, he starts to pour out his monologue as though recounting a dream. And so the talk goes on between them, their monologues alternating, but after a time they suddenly become aware that they have nothing to say to each other. They are like two men standing at either side of a chasm, the bridge across which has been destroyed.”
― Yukio Mishima, Runaway Horses

“Purity, a concept that recalled flowers, the piquant mint taste of a mouthwash, a child clinging to its mother’s gentle breast, was something that joined all these directly to the concept of blood, the concept of swords cutting down iniquitous men, the concept of blades slashing down through the shoulder to spray the air with blood. And to the concept of seppuku. The moment that a samurai “fell like the cherry blossoms,” his blood-smeared corpse became at once like fragrant cherry blossoms. The concept of purity, then, could alter to the contrary with arbitrary swiftness. And so purity was the stuff of poetry. For Isao, to die purely seemed easy. But what about laughing purely? How to be pure in all respects was a problem that disturbed him. No matter how tight a rein he kept upon his emotions, there were times when some trivial thing would arise to make him laugh. Once, for example, he had laughed at a puppy frolicking at the side of the road, with a woman’s high-heeled shoe, of all things, in its mouth. It was the kind of laugh that he preferred others not to see.”
― Yukio Mishima, Runaway Horses

“He radiated the innocence that marks the absolute rejection of prudence.”
― Yukio Mishima, Runaway Horses: The Sea of Fertility, 2

“And one clouded stream that never ran dry was that choked with the scum of humanism, the poison spewed out by the factory at its headwaters. There it was: its lights burning brilliantly as it worked even through the night - the factory of Western European ideals. The pollution from that factory degraded the exalted fervor to kill; it withered the green of the sakaki's leaves.”
― Yukio Mishima, Runaway Horses

“He stripped off the remainder of his upper garments, but, as his body tensed, the cold seemed to vanish. He unfastened his trousers, exposing his stomach. As he drew his knife out of its sheath, he heard cries and the sound of running footsteps from the direction of the orchard above.

"The ocean. He must have got away in a boat," one pursuer called out shrilly.

Isao drew in a deep breath and shut his eyes as he ran his left hand caressingly over his stomach. Grasping the knife with his right hand, he pressed its point against his body, and guided it to the correct place with the fingertips of his left hand. Then, with a powerful thrust of his arm, he plunged the knife into his stomach. The instant that the blade tore open his flesh, the bright disk of the sun soared up and exploded behind his eyelids.”
― Yukio Mishima, Runaway Horses

“Somewhere in his heart he had recognized who she was. His dominant wish, however, was to go a little longer without recognizing her. The woman’s face floating in its dark seclusion, no name yet attached to it, had the character of a mysterious, lovely apparition. It was like the scent of the fragrant olive which, as one walks along a path at night, tells of the blossoms before one sees them. Isao wanted to keep things just as they were, if only for an instant more. At this moment a woman was a woman, not someone with a name attached to her.

And that was not all. Because of her hidden name, because of the agreement not to speak that name, she was transmuted into a marvelous essence, like a moonflower, its supporting vine invisible, floating high up in the darkness. This essence which preceded existence, this phantasm which preceded reality, this portent which preceded the event conveyed with unmistakable force the presence of a substance yet more powerful. This presence which showed itself as gliding through air—this was woman.

Isao had yet to embrace a woman. Still, never so strongly at this moment, when he keenly sensed this “womanliness that preceded woman,” had he felt that he too knew what ecstasy meant. For this was a presence that he could even now embrace. In time, that is, it had drawn near with an exquisite subtlety, and in space it was only a little distant. The affectionate emotion that filled his breast was like a vapor that could envelop her. And yet once she was gone, Isao, like a child, could forget her entirely.”
― Yukio Mishima, Runaway Horses

“Though small, the shrine has a long history. In 1333—the Third Year of the Genko era—Lord Takeshigé Kikuchi ascended to it in order to implore the divine favor before going into battle. Victory was his, and in gratitude he had the shrine rebuilt. According to tradition, he himself carved the Worship Image, reciting a triple prayer after each stroke. This represented the god as standing on the mountain peak with one hand raised, gazing at the armed host he had blessed. It was an image of victory.
Now, however, the morning after the rising, early on the auspicious Ninth Day of the Ninth Month, the time of the Chrysanthemum Festival, there were gathered around the shrine forty-six hunted survivors of a defeated force. Some standing, some sitting, they stared blankly about them, though the penetrating autumn chill made their wounds sting. The clear light of the rising sun cast a striped pattern as it shone down through the branches of the few old cedars that surrounded the shrine. Birds were singing. The air was fresh and clear. As for signs of last night’s sanguinary combat, these were visible in the soiled and bloodstained garments, the haggard visages, and the eyes that burned like live embers.
Among the forty-six were Unshiro Ishihara, Kageki Abé, Kisou Onimaru, Juro Furuta, Tsunetaro Kobayashi, the brothers Gitaro and Gigoro Tashiro, Tateki Ura, Mitsuo Noguchi, Mikao Kashima, and Kango Hayami. Every man was silent, sunk deep in thought, looking off at the sea, or at the mountains, or at the smoke still rising from Kumamoto.
Such were the men of the League at rest on the slope of Kimpo, some with fingers yellowed from brushing the petals of wild chrysanthemums that they had plucked while staring across the water at Shimabara Peninsula.”
― Yukio Mishima, Runaway Horses

“Cruel separation guarded the purity of emotion. The pangs of being apart were transformed into quiet joy. Danger aroused the sensual. Uncertainty fostered dreams.”
― Yukio Mishima, Runaway Horses

“there’s the matter of picking the time. There’s such a thing as the favorable moment. Determination alone counts for nothing.”
― Yukio Mishima, Runaway Horses: The Sea of Fertility, 2

“Again, Saburo Tominaga once went to the Shirakawa Prefectural Office to cash his brother Morikuni’s bonus bond and, unwilling to touch paper currency defiled with a foreign-style design, carried it home between chopsticks.”
― Yukio Mishima, Runaway Horses

“If men brought their hearts together beyond a certain degree, if they were intent upon making their hearts one, did not a reaction set in after that brief fantasy had passed, a reaction that was more than simply alienation? Did it not inevitably provoke a betrayal that led to complete dissolution?
Perhaps there was some unwritten law of human nature that clearly proscribed covenants among men. Had he impudently violated such a proscription? In ordinary human relationships, good and evil, trust and mistrust appear in impure form, mixed together in small portions. But when men gather together to form a group devoted to a purity not of this world, their evil may remain, purged from each member but coalesced to form a single pure crystal. Thus in the midst of a collection of pure white gems, perhaps it was inevitable that one gem black as pitch could also be found.
If one took this concept a bit further, one encountered an extremely pessimistic line of thought: the substance of evil was to be found more in blood brotherhoods by their very nature than in betrayal. Betrayal was something that was derived from this evil, but the evil was rooted in the blood brotherhood itself. The purest evil that human efforts could attain, in other words, was probably achieved by those men who made their wills the same and who made their eyes see the world in the same way, men who went against the pattern of life’s diversity, men whose spirit shattered the natural wall of the individual body, making nothing of this barrier set up to guard against mutual corrosion, men whose spirit accomplished what flesh could never accomplish. Collaboration and cooperation were weak terms bound up with anthropology. But blood brotherhood . . . that was a matter of eagerly joining one’s spirit to the spirit of another. This in itself showed a bright scorn for the futile, laborious human process in which ontogeny was eternally recapitulating phylogeny, in which man forever tried to draw a bit closer to truth only to draw a bit closer to truth only to be frustrated by death, a process that had ever to begin again in the sleep within the amniotic fluid. By betraying this human condition the blood brotherhood tried to gain its purity, and thus it was perhaps but to be expected that it, in turn, should of its very nature incur its own betrayal. Such men had never respected humanity.”
― Yukio Mishima, Runaway Horses

“So it is that time reenacts the most curious yet earnest spectacles within the human heart.”
― Yukio Mishima, Runaway Horses

“To defile yourself, yet not really be defiled—that’s true purity. If you’re fastidious about defilement, you’re not going to do anything. You’ll never become a real man,”
― Yukio Mishima, Runaway Horses: The Sea of Fertility, 2

“Otaguro’s bosom heaved with an ineffable surge of joy. “Every man is fighting,” he murmured. “Every man.”
― Yukio Mishima, Runaway Horses

“Evil blood," said Makiko, "is blood that cries to be shed. And those who shed it may indeed heal our country's sickness. Those cowards who now stand at the bedside of our stricken nation do nothing but wring their hands piteously. Japan will die if the issue is left to them.”
― Yukio Mishima, Runaway Horses

“He clasped her tighter, feeling their two bodies shake like the mast of a plunging ship.”
― Yukio Mishima, Runaway Horses: The Sea of Fertility, 2

“The essay was entitled “Gibbon Through the Night,” and from it Isao was able to draw this essential portion: By any standard Gibbon’s work is a masterpiece. It goes without saying that I am far too deficient in scholarship and intellect to comprehend its wisdom, but I may safely contend that no Japanese translation can possibly convey the monumental significance of The Decline and Fall of the Roman Empire. The lavishly illustrated 1909 edition edited by Professor Bury, seven volumes, unabridged, is absolutely without peer. When I give myself over to the pleasure of reading Gibbon by the light afforded by my bedside lamp, the hour inevitably grows far advanced. The breathing of my sleeping wife beside me, the rustle of the pages of my Bury edition of Gibbon, and the ticking of the antique clock purchased from LeRoi’s of Paris become by and by the only sounds that occupy the silence of my bedroom, forming a kind of delicate nocturnal trio. And the small lamp that illumines Gibbon’s pages is, within the whole house, the last torch of the intellect to be extinguished each night.”
― Yukio Mishima, Runaway Horses: The Sea of Fertility, 2

“L’articolo 14 della legge sull’ordine pubblico sanciva con freddo e burocratico distacco il divieto di costituire società segrete. A Isao e ai suoi compagni era dunque vietato unirsi nel saldo vincolo della comune dedizione alla causa, poiché un’associazione fondata sul culto solare dell’imperatore, sul giuramento di versare il sangue ardente che ribolliva nelle loro vene per innalzarsi fino al Cielo, era per ciò stesso proibita. Quanto invece alle organizzazioni politiche destinate unicamente all’arricchimento illecito dei loro membri, o alle società con fini esclusivi di lucro, la legge non aveva nulla in contrario al fatto che ne venissero create quante se ne volevano. È nella natura stessa del potere temere più la purezza che non la corruzione, così come i popoli selvaggi, ben più che dalle malattie, sono terrorizzati dai rimedi della medicina.”
― Yukio Mishima, Runaway Horses

“When he was young, there had been only one reality, and the future had seemed to stretch before him, swelling with immense possibilities. But as he grew older, reality seemed to take many forms, and it was the past that seemed refracted into innumerable possibilities.”
― Yukio Mishima, Runaway Horses: The Sea of Fertility, 2