There is a kind of immodesty that becomes only a virgin, differing from the immodesty of a mature woman, and intoxicates the beholder, like a gentle wind. Yukio Mishima "Confessions of a Mask"
And it was a debasement more evil than that of any normal kind of love. Indeed, of all the kind of decay in this world, decadent purity is the most malignant. Yukio Mishima, Confessions of a Mask
55 ：
You should keep both feet planted firmly on the ground, at least as you're alive. Yukio Mishima, Sotoba Komachi, Modern No Plays
56 ：
There's nothing that wasn't once vulgar. In time it'll change again. Yukio Mishima, Sotoba Komachi, Modern No Plays
57 ：
Might it not be that through the innermost recesses of love there courses an unattainable longing in which both the man and the woman desire to become the exact image of the other? Might not this longing drive them on, leading at last to a tragic reaction in which they seek to attain the impossible by going to the opposite extreme? Yukio Mishima, Confessions of a Mask
58 ：
All the men who said I was beautiful have died. Now I feel for sure that any man who says I am beautiful will die. Yukio Mishima, Sotoba Komachi, Modern No Plays
I suppose a fool like you thinks every beautiful woman gets ugly as soon as she grows old. Hah! That's a great mistake. A beautiful woman is always a beautiful woman. If I look ugly now, all it means is that I am an ugly beauty. Yukio Mishima, Sotoba Komachi, Modern No Plays
62 ：
What a heavy burden it must be to have once been lovely. I can understand how you feel. A man who's once gone to war reminisces about the war all the rest of his life. Yukio Mishima, Sotoba Komachi, Modern No Plays
63 ：
三島由紀夫「 Yukio Mishima, をNGにしたらスッキリした。
64 ：
My hands and feet have become cold.... I'll meet you again, I'm sure, in a hundred years, at the same place. Yukio Mishima, Sotoba Komachi, Modern No Plays
65 ：
Which runs faster―love or a dog? Which gets dirty faster? Yukio Mishima, The Damask Drum, Modern No Plays All questions are relative. Love is the architecture of the emotion of disbelief in genuine articles, Yukio Mishima, The Damask Drum, Modern No Plays
66 ：
Laugh! Go ahead and laugh! Laugh all you like! ... You'll still be laughing when you die. You'll be laughing when you rot away. That won't happen to me. People who are laughed at don't die just like that... People who are laughed at don't rot away. Yukio Mishima, The Damask Drum, Modern No Plays
67 ：
There's insufficient proof that your love in this world was real, if that was the only reason why you died. Yukio Mishima, The Damask Drum, Modern No Plays
68 ：
Woman's a soap-bubble, money's a soap-bubble, fame's another, and the world we live in is only what we see reflected in these soap-bubbles. Yukio Mishima, Kantan, Modern No Plays Sometimes a wolf goes through a woman' s eyes. Yukio Mishima, Kantan, Modern No Plays
69 ：
Women have only two terms of criticism: “How divine!”and “silly!” Those are the only two. Yukio Mishima, Kantan, Modern No Plays A baby is born. Into this dark, gloomy world. His mother's womb was more cheerful. Why should he ever have wanted to leave it for a gloomy place? Little idiot. I can't understand him at all. Yukio Mishima, Kantan, Modern No Plays
70 ：
When I feel I want to kill you, I must be thinking that I'd like to be pitied by your dead self. And amidst feelings of every sort, simultaneously, there is myself. Isn't it strange that I should be present at the same time with all those different existences? Yukio Mishima, The Lady Aoi, Modern No Plays
71 ：
The clearest sign that a woman has lost her pride is when she talks in a highhanded way. A woman longs to be a queen because a queen has the most pride to lose. Yukio Mishima, The Lady Aoi, Modern No Plays When I am on your right I am jealous of everything to your left. I feel as if someone surely is sitting there. Yukio Mishima, The Lady Aoi, Modern No Plays
72 ：
Don't they say that human beings go on living by waiting and making other people wait? If you gave your whole life to waiting, how would it be? Yukio Mishima, Hanjo, Modern No Plays All love is horrible, and there are no rules. Yukio Mishima, Hanjo, Modern No Plays
73 ：
The ideal presented in Hagakure may be summed up in one expression,“secret love,” and Hagakure maintains flatly that once love has been confessed, it shrinks in stature; true love attains its highest and noblest form when one carries its secret to the grave. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
74 ：
It is always reinforced by death. One must die for love, and death heightens love's tension and purity. This is the ideal love for Hagakure. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
75 ：
The author, in his abundant understanding of human life, knows that man does not live by his life alone. He knows just how paradoxical is human freedom. And he knows that the instant man is given freedom he grows weary of it, and the instant he is given life he becomes unable to bear it. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
Youth possesses the impulse to resist and the impulse to surrender, in equal measure. One might redefine these as the impulse to be free and the impulse to die. The manifestation of these impulses, no matter how political the form it assumes, is like an electric current that results from a difference in electrical charge― in other words, from the fundamental contradictions of human existence. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
78 ：
The occupation of the samurai is death. No matter how peaceful the age, death is the samurai's supreme motivation, and if a samurai should fear or shun death, in that instant he would cease to be a samurai. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
79 ：
三島厨の三島厨による三島厨のための自慰スレ
80 ：
In the basic spiritual makeup of the Japanese, eros and agape are melded. When love for a woman or a young man is pure and chaste, it is no different from loyalty and devotion to one's ruler. This concept of love, which makes no distinction between eros and agape, was called “falling in love with the Imperial family”{renketsu no jo} at the end of the Tokugawa Period and laid the emotional groundwork for emperor worship. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
81 ：
The samurai has no choice but to defend his honor and his morale by constant anticipation: “Will I not be shamed before my enemies? Will my enemies not despise me? The samurai's conscience takes the form of the enemy itself. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
82 ：
Once we have admitted the appropriateness of energy as the motivating principle of action, then we can do nothing but follow the physical laws of energy. A lion can only run headlong to the far end of an open field. That is the way a lion proves that he is a lion. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan What is“strength ”? It is not to be carried away by attempts at wisdom. It is not to go overboard in judgment. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
83 ：
“Egoism ”{in English} is different from “egotism”{in English}. If a man has self-respect, and if his guiding principles are high, then it no longer matters what he says or does. He refrains from speaking ill of others, yet he never makes it a special practice to praise them. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
84 ：
The fact that we are alive may mean that we have already been chosen for some purpose, and if life is not something we have chosen for ourselves, then maybe we are not ultimately free to die. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan We tend to suffer from the illusion that we are capable of dying for a belief or a theory. What Hagakure is insisting is that even a merciless death, a futile death that bears neither flower nor fruit, has dignity as the death of human being. If we value so highly the dignity of life, how can we not also value the dignity of death? No death may be called futile. Yukio Mishima on Hagakure, The Samurai Ethic and Modern Japan
85 ：
Discontent, young lady, is a poison which upsets all the sane principles of the world and makes a mess of your own happiness. Yukio Mishima, Dojoji, Modern No Plays You can't win when you fight with nature. Yukio Mishima, Dojoji, Modern No Plays
