The Social Environment In The Work The Marin

THE SOCIAL ENVIRONMENT IN THE WORK THE MARIN

The social environment is defined as “(…) the culture in which the individual was educated; Live, and covers the people and institutions with which the individual interacts regularly ”(Casper, 2001). Thus, as this environment also manifests itself in a literary work, being a fundamental factor that achieves a very broad, beneficial as harmful to the development of the same. The work the sailor who lost the grace of the sea, encompasses the ideal social environment to address Japanese society, where Yukio Mishima, author of the work, proceeds. For this, it is necessary to prioritize to what extent the Japanese social environment affects Yukio Mishima to metaphorize the plot of the work?

World War II as it was an armed conflict in which different nations intervened, including Japan, had invaluable consequences, including the loss of authority possessed by the Japan emperor of that time, which constitutes a situation of void Araying for Yukio Mishim.

Mishima responds to the great respect for the culture in which he grew up and lived. Through the use of metaphors he makes references to the sailor such as the old Japan and his strong relationship with the sea that is distorted when he returns to the ground and begins to relate to society; This is how Noboru son of Fusako, a woman of which the sailor falls in love, knows him and from that encounter for him is represented as a symbol of heroism; However, seeing that because of the westernization it begins to corrupt, and knowing that the sailor is faithful knowledgeable of Japan of yesteryear and wants to reach his glory, begins to do everything possible to return to the sea, although the last decision is death.

The social context is reflected in the different ideologies presented by the characters, metaphorically essential, Noboru/Ryuji, because their actions show the desire to maintain their culture because of World War II, leaving as a consequence a remarkable loss in Japan In the cultural aspect, which led to the plot of the work taking an unexpected turn, starting as a romance novel, until finally figurating in the desire to reach glory, following the tragic era that shook Japan causing various emotional damage to society. Mishima was affected by the decisions made by the emperor of Japan Hirohito Michinomiya when surrendering in combat, these ideological circumstances transmitted them in his work “but the sailor, in that casual and unfortunate meeting, had presented himself with an unfortunate aspect, with a soaked shirt and, in case this were not enough, with a stupid and servile smile. Smiling like that was to lower, because it aimed to get rid of a kid.”(Mishima, 1963: 53). Mishima shows the sailor (Ryuji) as Japan when he surrendered in World War II, showing himself peaceful and accepting his defeat. Mishim.

The work is dichotomous since the plot revolves around beauty and horror; And, on the other hand, sensuality and decline because Japan went through a tragic situation where a notable loss of its beauty was evidenced in the cultural aspect caused by an episode of horror, World War II; attitudes that are reflected in the life of Mishima and that are transmitted to his work. In addition, Mishima uses these attitudes to relate his feelings to the culture that prevailed previously in Japan and as such impression is transformed and negative shocks are created towards the new Westernized culture of Japan. “The semi -naked bodies of the dockers shone with turns off flashes. (…) On the packaging that turned in the air, fleets of sunlight and, (…), the load undertook a fast flight and cindle on the barges they expected.”(Mishima, 1963: 37). Thus emphasizing sensuality and beauty, represented through light.

Likewise, Mishima represents the sensuality and beauty "The crimson of the tunic, provided that a slight movement of her body altered the game of lights of the distant lamps, varied and ranged capriciously between various shales of purple. Ryuji, under the shadow folds of the dress, guessed the serene palpitation of women’s folds.”(Mishima, 1963: 41) thus symbolizing the divinity of women in the attraction for westernizing Japanese culture.

The determining nature of Mishim. And, fundamentally, society is meaningless (…) a handful of blind tells us what we have to do, and our unlimited faculties are trizling.”(Mishima, 1963: 46) as a decisive reference that Japan took when surrendering in World War His restorative voice to recover his prodigious culture.

Mishima was a person attracted to beauty and sensuality, but not only implied that in his works, but also shows a dark perspective in these "a father is a machine to hide reality, a warm machine lies For children. But that’s not the worst: he intimately believes that it represents reality. (…) They would do anything to contaminate our freedom and our faculties. Anything to protect the dirty cities that have built for themselves.”(Mishima, 1963: 96) In this fragment of the work the reader is shown the dark side of the plot, representing the horror, the appointment is mentioned by Noboru, a very influential character in the work which presents a character and nihilist thoughts At the young age of 13 years.

Mishima recounts in his work a life situation, demonstrating how nefastic the consequences of the war were and how they affected the Japanese environment “advanced the war, his house had been destroyed in an air attack, and shortly after his sister had died consumed by The typhus.(…) The only memories of his life were eternal devastation: poverty, illness and death. By becoming a sailor, he had left the earth forever.”(Mishima, 1963: 40).

Mishima identified with the samurai culture and represents it exalally, "they shared the snacks, the salad and the cakes, and drank thermos iced tea. They approached a few sparrows and posed next to the group. No one offered them a crumb. The greatest inhumanity was among them something worth pride.”(Mishima, 1963: 47) represents Noboru’s nihilist attitude and his group of friends of his, who symbolize the samurai pride of Mishima, which led him to the extreme, towards his death.

In conclusion, the events that occurred in World War II were of the utmost importance for the development and metaphorical creation of the work that lost the grace of the sea, Ryuji, finally obtains glory with death; Mishima through samurai culture in the technique called "Harakiri", awakens towards a new life; Japan resurfaces from the sequelae of war and today is world power in full apogee.

Bibliography

• Casper, e. B. (March 2001). American Journal of Public Health. Obtained from https: // www.NCBI.NLM.nih.GOV/PMC/ARTICLES/PMC1446600/PDF/11249033.PDF
• Mishima, and. (1963). The sailor who lost the grace of the sea. Kōdansha.