AI革命と文化防衛論

 　

「われわれは、護るべき日本の文化、歴史、伝統の最後の保持者であり、最終の代表者であり、且つその精華であることを以って自ら任ずる。よりよき未来社会を暗示するあらゆる思想とわれわれは尖鋭に対立する。」

　　　　　　　　　　　　　　　　　　　　文化防衛論　　　　　三島由紀夫

日本の著名な小説家三島由紀夫は、その多くの小説を残し、劇的な自刃の行為のため、今でも、多くの人がその思想や行動の謎の解明を試みている。

　三島由紀夫など戦中派世代は戦争の只中にあり、戦争に対して冷静な距離を取りようがなかった、戦後は、自分は本来戦死するべきであったという罪悪感、survivor guiltを抱えていた。

　　三島由紀夫は語る、　「このフィクションを十代に経験し、抑圧された下層（戦中）から内圧が上層（戦後）を破壊し、構造自体を崩壊させて一元化した。私は生来、どうしても根治しがたいところの、ロマンチックの病を病んでいるのかもしれない。このロマンチックとは死への誘惑であり、十代のノスタルジアであった。」

　そのノスタルジアとは「戦争のことは、あるやましい浄福の感情なしには想いおこせないものである。それは異教的な秘宴の記憶、聖別された犯罪の陶酔感をともなう回想である。およそ地上においてありえないほどの自由、奇蹟的な放恣と純潔、アコスミックな美と倫理の合致がその時代の様式であり、透明な無為と無垢の凶行との一体感が全地をおおっていた。

　それは永遠につづく休日の印象であり、悠久な夏の季節を思わせる日々であった。神々は部族の神々としてそれぞれに地上に降りて闘い、人間の深淵、あの内面的苦悩は、この精妙な政治的シャーマニズムの下では、単純に存在しえなかった。第一次大戦のの体験者マックス　ウェーバーの言葉でいえば、そのような陶酔を担保したものこそ、実存する「死の共同体」に他ならない。夭折は自明であった。「すべては許されていた。」

　そして、次第に神的天皇との一体化に突き進んでいく。共に死すべき朋友たちとの死の共同体はすでになく、何らかの絶対者に命を捧げることも不可能である戦後を、「私の中の２５年を考えると、その空虚に今さらびっくりする。私はほとんど生きたとはいえない。鼻をつまみながら通りすぎたのだ。」

「道すがら考うれば、何とよくからくった人形ではなきや。糸を附けてもなきに、歩いたり、飛んだり、はねたり、言語迄言うは上手の細工なり。されど、明年の盆祭に客にぞなるべき。さてもあだな世界かな。忘れてばかり居るぞ。」天下泰平の葉隠の武士に自らを重ね合わせて見ている。

「憂国」での、昭和テロ事件を題材とした自死から、「英霊の声」で、戦中のイデオロギー、天皇の戦争、散華の思想が非合理だとしても絶望的状況では、それを信じ、行動するしかなかった若者を描いた。そして戦後、このイデオロギーを推進した人々が、自分たちはそんな思想は信じていなかったとして天皇制を変更した。では、特攻隊員の死は一体何だったのかと問いかけた。そして戦後再び、天皇という神を創り出す努力の結果を「文化防衛論」で論評した。

  そこでは、理想の天皇制を、神や自然より、日本の精神、日本の文化に力点を置いて、日本の共同体のありようを定義し、創り出そうと訴えた。

　　アメリカは世界各国の異なる文化的背景から、人々が集まり、個人の人権や自由を重視したリベラリズムと選挙と法の支配による民主主義を柱にして国を作った。日本は、第二次世界大戦の敗北の後、このシステムを取り入れた。戦前の国体神話はフィクションとなった。そして国家もそのフィクションに支えられていた。明治政府は、世界の強国と対等に渡り合うために立憲君主制の憲法のもとに、天皇を神格化して、宗教化した。昭和時代もこの信念の体系の下で人々は生活し、行動した。敗戦によりこの国家神話は廃棄された。

　言葉は、人類文化におけるコンピューターのオペレイティング　システムにあたるもので、宗教もことばによって支えられている。。宗教は言葉に始まる神々の物語を記録して聖典となり、これらから、芸術や政治も造られ、何千年もかけて人類の文化を築き上げてきた。

人々はその文化のもとで生まれ育ち。価値観を身につけ、世界を理解してきた。人間が言葉を使い、それぞれの言語でそれぞれの民族は世界を表現し世界観を作ってきた。世界の多くの国は民族の神話などの宗教に似た、民族の物語によってあるいは強固な思想に基づいて造られてきた。

　小説や詩などの文学は、言葉を並べて、類比し、比喩として使い、つなぎ合わせ組み合わせることによって詩を創り、物語をうみ出す。　江戸時代上田秋成は、雨月物語の初めに、小説とはありもしない嘘物語で、作者はそのため業の報いを受けたと書き、　寺山修司は、「俳句にのめりこむにつれて、寺山はなりふりかまわわず他人の作品から言葉やイメージを盗ることに汲々し出した。自分の存在を誇示することに賭けていた寺山は、少しも臆することなく、他人の作品の言葉やイメージを素手で鷲掴みにしては、自分の言葉とイメージに育て上げ、ひたすら書きつ続けたものである。他人の作品の原型をとどめていようが、いまいが。」とまるで現在、AIのしていることを思わせる創作方法をとって数々の傑出した短歌を創り出した。演劇でも様々な芸術からイメージをコラージュして新たな作品を上演した。また　デヴィット　ピースという作家は、芥川龍之介の作品を、コラージュ風に使い、龍之介幻想という小説を試みた。さらに、アメリカのハリウッドでAIがシナリオを書く行為の排除を求めるストライキが脚本家達から起こった。

　人は妄想の物語を、自ら作り出す。ラカンはエメという症例の中で「作家志望であった彼女は、同僚たちの話から、ある女優が自分の息子を殺そうとしている妄想を構築し、彼女を短刀で刺そうとして傷つける事件を起こす。そしてその行為を自ら自己処罰だと認識した後、妄想は消える。」人は妄想や、思想に従って行動を起こす。

　AIを使った、小説や脚本はすでにかけるレヴェルまで達している。小説家も詩や俳句の作家も多くの作品を理解することによって新たな物語を創作する。人工知能も同じように膨大なデーター知識をコラージュして作品を創作する。もし人工知能が宗教や政治的信念の体系をうまく作り上げてしまったら、信じやすい人の心にどのような影響が及ぶのか。この能力をAIが獲得するのではないかといった危惧は今でも指摘されている。そして、宗教や信念の体系もすべて言語によって形成されたもので、人を行動に駆り立てる。この人間の文化をAIが作り出したら、今の社会は防衛できるのか、現在は新たな文化防衛論が必要な時代なのかもしれません。

Osho Ikkyu

　In the realm where all things fade to naught,

　They speak of emptying, a profound thought.

　Returning to the essence of our kind,

　To embrace the void, our souls aligned.

• 　　　　　　　　　　　　　　　　　　　　　"Ikkyu's Skeleton”          

 Ashikaga Yoshimitsu, the third shogun of the Muromachi shogunate, weakened the power of regional governors by exploiting their conflicts, climbed the ranks of the bureaucracy, and sought to establish the authority of the Ashikaga family in the samurai class by adopting a courtly lifestyle. He assumed the authority over land grants to aristocrats and temples, effectively replacing the emperor, and incorporated the imperial court through a policy of unity between the imperial court and the shogunate.

Furthermore, Yoshimitsu attempted to establish his control over Japan by receiving the title of King from the Emperor of Ming China. In 1401, he informed the Emperor of Ming that he had unified the country and expressed his desire for trade and diplomatic relations. The following year, he received a reply stating, "From the King of Japan, Minamoto no Michiyoshi, who holds loyalty and love for the royal family in his heart, and who wishes to send an envoy to your court, crossing over the waves and tides.”

Ikkyu was born in 1394 as the son of Emperor Go-Komatsu, whom Yoshimitsu supported as the Emperor of the Northern Court. The year after the completion of the Golden Pavilion, at the age of 5, Ikkyu was ordained at the Zen temple Ankokuzan. 

At the age of 8, in front of a Chinese-style folding screen with a tiger painting, he was told by the shogun, "Try to catch this tiger," to which he replied, "Then please chase away that tiger." This anecdote took place in the splendid residence of Yoshimitsu. Yoshimitsu accumulated wealth through trade with Ming China, acquiring rare gold and silver tableware, leopard-patterned fur chairs, and paintings of climbing dragons. He adorned his surroundings with these decorative items and lived in luxury.

At the age of 17, Ikkyu became a disciple of the monk Ken'o at Saikinji Temple. In Kyoto, the influence of the Nichiren sect was strong, while in the provinces, the teachings of the Jodo Shinshu sect, also known as Ikkoshu, had permeated the common people. On the other hand, Zen Buddhism, which had spread among the warrior class during the Kamakura period, was highly regarded by the Muromachi shogunate. However, Zen Buddhism in the capital had become compromised by ingratiating itself with those in power, and many zealous Zen monks who imitated Chinese customs emerged. They served as envoys for the shogunate and wrote official documents, and some of them were focused on accumulating wealth.Seeking the true Zen master and escaping from the capital, at the age of 22, Ikkyu visited the hermitage of Kaso in Katata, Shiga. He became a disciple of Kaso, leading a life of simplicity, practicing and receiving the name Ikkyu.

Resting on the path without leaks, let the rain fall, let the wind blow.

(From the world of attachments, I return to the world beyond attachments. And along the way, I take a break.)

In the world of Zen, both the spiritual realm and the mundane world are important. One cannot solely live on the path to enlightenment, so one returns to the secular world and immerses oneself in its complexities. When entangled in the secular world, one distances oneself from attachments and immerses oneself in the spiritual realm beyond them.

 It is in this space between the two worlds that one takes a breath. This is what Ikkyu sought.

Ten years ago, discerning mind, anger and pride still present. The crow laughs, the arhat fruit beyond dust, the chanting of the radiant sunlit face.

Ikkyu attained enlightenment at the age of 27. Late on a summer night, he boarded a small boat and engaged in solitary meditation. In the dark night, he heard the cry of a crow. At that moment, a ten-year-old question was instantly resolved, and he reached the state of an arhat. Returning to the temple, he composed a poem and conveyed this experience to his master.

At the age of 34, after his master's passing, the enlightened Ikkyu left the hermitage and returned to the town. In Ikkyu's era, there was no reverence for the emperor, no trust in politics, and even religious institutions like Zen had fallen into corruption. It became a time when knowledge and social status held no sway in the town, revealing the raw essence of humanity. 

Ikkyu wandered from one small hermitage to another in the town. During this time, he encountered many people, including members of the imperial family, samurai, townspeople, farmers, scholars, poets, and courtesans. They gathered around Ikkyu, and his cultural salon came into existence. He vehemently criticized the degenerate Zen that had fallen into traditional and stagnant forms, and compiled the "Jikai Shu" as a collection of self-reflections.

Eating to satisfy cravings, the title is "Greed comes"

In the gathering, I am highly favored like a plum blossom

Seizing gold with skill, the wheel turns swiftly

The virtuous person indeed loves wealth abundantly

Yoso (Kaso) changed his name to Soyo, and made a living by obtaining a certification for it. His disciples boasted as if praising a plum blossom. The means of acquiring wealth are as swift as the turning wheel. The virtuous person is indeed fond of wealth.

Hosoyo's descendants know nothing of Zen

Who will speak of Zen in front of this mad cloud?

For thirty years, burdens on my shoulders have been heavy

Alone, I carry the burden of Shogen's Zen

Hosoyo's disciples are all ignorant of Zen. Who can speak of Zen in my presence? For thirty years, I have carried the burden of Shogen's Zen heavily on my shoulders, alone.

Residing in the hermitage for ten days, my mind is busy

Under my feet, the red thread is excessively long

If someday you come to see me, my lord,

Please visit the fish market, the tavern, or perhaps the pleasure quarter.

The letter I sent to Soyo expressed that the ten days spent in this temple were busy days. The red thread entangling my feet is excessively long, so I am leaving from there. If you ever feel inclined to visit me, my lord, please consider stopping by the fish market, the tavern, or maybe even the pleasure quarter.

From the age of 62, Ikkyu rebuilt Myoshinji Temple and named it Shuon-an, using it as a base for spreading the teachings. Tea master Murata Shuko, performers of Noh and Kyogen, practitioners of the tea ceremony, and masters of renga visited Ikkyu. These individuals, by rejecting the culture of the imperial court represented by Hana no Gosho in the Kitayama period, gave birth to the beginnings of indigenous Japanese culture, which encompassed not only poetry and Noh but also the tea ceremony and residential architecture that continue to exist today.

In 1457, in his work "The Skeleton," Ikkyu wrote, "In the first place, at what time did this happen? It occurred in a dream, in the form of a skeleton. Who was that person? It was a skeleton wrapped in five-colored skin. When dealing with it, there is no distinction of gender. When alive, the skin cannot be torn; thus, there is no color.”

Eventually, when people die and their skin decays and disappears, emotions also vanish, and the hierarchy of social status in life becomes irrelevant. Human beings are merely moving about with skin covering these skeletons.

"Though the body may die, the soul does not die. This is a great mistake. The concept of Buddha is an empty space. Return to the field of one's fundamental duty in the entire land of heaven, earth, and country.”

At the age of 73, in 1467, the Ōnin War broke out, lasting for eleven years. During this time, Ikkyu fled from Kyoto to Nara and Osaka. The Ōnin War was triggered by the decline of Buddhist teachings, the deterioration of court ceremonies and etiquette, and the weakness of the shogunate, leading to internal divisions and conflicts among samurai clans without a just cause or legitimate motive. The war ended without a clear victor. In the midst of this turmoil, at the age of 76, Ikkyu encountered Mori Sammi, a blind traveling performer, and they lived together. Ikkyu left a letter expressing his deep gratitude to Mori Sammi. In the collection "Kyounshuu," he is referred to as "Yaku Miroku Geijo" and is considered to have received the grace of the Maitreya belief.

Withering wood, falling leaves, returning to spring once more

Evergreen, blooming flowers, the covenant of the past and the new

If I forget the profound favor of Mori

In countless kalpas, I will be confined to the realm of animals

Ikkyu became a Zen monk and repented. He shattered rituals, ranks, forms, and common sense, focusing on the root of life and contemplating the true essence of human existence through Zen practice. He lived an unconventional and radical life.

In 1474, at the age of 81, he became the abbot of Daikokuji Temple and passed away in 1481.

"Yukio Mishima's 'Running Horse’

 

"Yukio Mishima's 'Running Horse’"

Yukio Mishima depicted an era without the framework of post-war peace, freedom, and a global perspective in his work "The Sea of Fertility.”

The first part, "Spring Snow," begins with sepia-toned photographs of the Russo-Japanese War, portraying the tragic love story of the protagonist, Kiyoaki Matsugae, in the Taisho era's aristocratic society. The second part, "Running Horse," follows the protagonist's reincarnation, Isao Iinuma, and unfolds in the tumultuous year of 1932 (Showa 7) in Japan.

Isao  Iinuma visits Lieutenant Horie of the Army. "Upon seeing Lieutenant Horie's smiling face, Isao thought he should have visited this place during the surpassing cherry blossom season. Lieutenant Horie returned from the dust-filled training ground, resembling a yellowish sky, took off his dust-covered boots with cherry blossom petals and, on his khaki military uniform shoulder and collar, adorned with a youthful red and golden brilliance, he should have welcomed the young boys," the narrative describes.

Lieutenant Horie then asks Isao, "What is it that you aspire to?" Isao responds, "To establish the Divine Wind League of the Showa era." When further asked about his deepest desires, Isao confesses, "To perform self-disembowelment on a cliff at sunrise, overlooking the shining sea, at the foot of a vigorous pine tree.”

In response to Isao's devotion to the Divine Wind League, Honda, in a letter, cites the example of Aritomo Yamagata, who faced persecution while establishing schools for the spread of Christianity and sought refuge in Kyoto, eventually founding Doshisha University. Honda criticizes the confusion between the purity of sentiment and the conflation of history, stating that "studying history is not about extracting certain forms from a single era of the past and fitting them into a partial form of the present while shouting with joy.”

The phantom dream of the irrational activist becomes a "beautiful ball that changes colors" and is kicked into the cold but orderly world of legal and architectural rationality, shaking the conviction of rationalist Shugekuni Honda.

Isao Iinuma, in his pursuit of the Divine Wind League of the Showa era, attempts to strike a blow against the corrupt political and economic circles with his comrades. However, he is arrested before executing his plan, undergoes a trial, and is released. After his release, he carries out the assassination of Kuranosuke Kurahara, the puppet master of the business world, and commits seppuku (ritual suicide) alone. The story concludes with the sentence, "Just as the blade pierced his abdomen, the sun disk rose brilliantly behind his eyelids." 

The overflowing emotions transcend rational judgment and intellectual restraint, propelling action like a running horse.

The Divine Wind League rebellion sought to defend the spirit of the nation and aimed to restore the Emperor's role as the supreme priest, opposing the Sword Abolishment Edict and advocating for the reinstatement of the Emperor as the central figure in religious ceremonies, reminiscent of ancient times. 

In 1876, they attacked the government institution known as Kumamoto Garrison. Carrying a sword symbolized Japan as a divine country, and swords and spears were considered sacred treasures. Discarding them was seen as a denial of the nation's customs. They attempted armed attacks against the Meiji government using swords and spears. However, they were suppressed by the government's firearms, and many chose to commit suicide. At the time, it was referred to as a rebellious act of a mystical secret society inspired by divine intervention.

　the early Showa period, the Imperial Way Faction of the Army, symbolized by cherry blossoms, khaki military uniforms, and red and gold emblems, also took action with the aim of establishing a people's state under the Emperor's leadership. They were suppressed by the government forces led by the Emperor, and their actions were considered a coup by extremist factions within the military.

The code of Bushido began with the honor and pride of the samurai of the Kanto region, the master-servant relationship, and the code of conduct for warriors adapting to different situations.

 In the peaceful Edo period, where there was no combat, it remained as an extreme form known as "Hagakure." In the 18th century, after a hundred years of peace since the era of civil wars, it became a time of tranquility known as "People are all going to Edo as autumn ends." Even young samurai from the Nabeshima domain became preoccupied with fashionable clothing and personal gain calculations. 

In response to this trend, Hagakure spoke of the samurai spirit that did not exist in the reality of the Edo period. It mythologized memories of the warriors from the Warring States period and was considered an extreme oral expression of radical ideology at the time.

 

Its radical arguments, symbolized by "Bushido is finding something to die for," were not an exaltation of ritual suicide but rather advocated a mindset of preparing for the worst in everyday life. The unconditional absolute loyalty of the samurai to their lord, the bond between ruler and subject, was perceived as a complete purification and unification of one's character, similar to unrequited love being the purest form of romance without calculation. To fulfill their loyalty, it was deemed an obligation to engage in remonstration and make efforts to make the lord a true lord.

This absolute loyalty to the lord was revived during the end of the shogunate period (Bakumatsu). The Bakumatsu period was seen as a reenactment of the late Muromachi period, the era of "Sengoku" (Warring States), where the samurai's honor, autonomous decision-making, and purposeful way of life resurfaced. The actions of the loyalists during the Bakumatsu were based on the concept of "Bushi-do," which advocated Japan's independence and honor alongside the imperial loyalist consciousness. This ideology was shared by not only farmers but also the samurai class, such as village heads and land stewards. They took action to advise the feudal lords and rectify their mistakes.

However, the sentiment of the samurai during the Bakumatsu and early Meiji era disappeared with the suppression of the Saga Rebellion, Shimpuren, and the final battle of the samurai in the Satsuma Rebellion. 

After the Satsuma Rebellion, which took place in the following year, Toshimichi Okubo was assassinated, and the question of how to define the Emperor's position became the next crucial issue for the Meiji government. 

Various factions proposed different ideas, such as a priestly figure of unified religious and political power, a virtuous monarch, a constitutional monarchy under a constitution, or even a republican system. Ultimately, the Meiji Constitution, a constitutional monarchy under the German-style constitution, was established in 1889 (Meiji 22). The concept of Imperial loyalty transformed into a familial nationalistic view of loyalty to the sovereign, and the samurai's loyalty to their lord, which was based on human connections, disappeared along with the decline of the samurai class.

Human hearts have the power to create any myth, story, or beauty and act upon them. The process by which the protagonist Isao Iinuma's actions are born in the novel "Runaway Horses" can be traced back to the samurai of the Kamakura period. The political ideal was sought in the utopia of ancient religious-political unity. The ideology that had slept during times of peace revived in the chaotic period of the end of the shogunate and further drove radical individuals to action during the Showa period.

Yukio Mishima depicted these sentiments in his novel "Runaway Horses," where in the third part, "The Temple of Dawn," he portrays Isao Iinuma's cycle of reincarnation and discusses the philosophy of Yogacara. In the fourth part, "The Decay of the Angel," he concludes with the following passage: "In the absolute silence, in the utmost solitude, there was nothing else. In this garden, there was nothing. No memories, nothing at all. Honda thought to himself, 'I have come to a place where there is nothing.' The garden basked in the brilliance of a midsummer day, eerily quiet." With these words, he brings an end to the bountiful sea.

 He himself admonished the illusion, acted in pursuit of the illusion, and took his own life.

The Political Season Shintaro Ishihara ,Oe Kennzaburo

 Beyond the cape, there existed naught but emptiness.

An endless, maddening expanse of water stretched forth, a succession of boundless magnitude fulfilling our yearnings, the vast aqueous plain imbued with our purpose.

Our arrival is at last at hand. In this very moment, we propel unswervingly towards our coveted destination.

Within the depths of our beings, a profound stirring ensues, a tumultuous battle unfolds.

It transcends mere serenity, happiness, and contentment—an arduous strife that empowers us to confront our individual destinies head-on and strive relentlessly to seize them.

　　　　　　　"Stars and Rudder"

　　　　　　　　　　　　                                              Shintaro Ishihara.

After Japan's defeat in World War II, the country's values were fundamentally overturned. People quickly adapted to a state of peace. Even magazines underwent a transformation, with "Women in Wartime" becoming "Fujin Gahō" (Women's Pictorial), "Weapon Technology" turning into "Peace Industry," and "War Medicine" changing to "Comprehensive Medicine." In the 1946 issue of Shin Nihon Bungaku (New Japanese Literature), 25 names were listed as literary figures responsible for the war. The previously prominent nationalist literature lost its influence, and authors like Natsume Soseki, Nagai Kafu, and Hajime Kawakami gained popularity. In 1947, even Miyamoto Yuriko's "Harima Plain" became a bestseller.

Pre-war authors such as Junichiro Tanizaki and Yasunari Kawabata also made a comeback with their aestheticism gaining support. Among them, young writers like Ango Sakaguchi, Taijiro Tamura, and Osamu Dazai advocated decadence and individualism, disrupting societal norms in their own ways.

 Sakaguchi presented the theory of decadence, stating that the expression of defeat was nothing more than a descent into decadence. He believed that true beginnings and a return to genuine human nature could be found within that decadence. Tamura denied abstract thinking through the gateway of the physical body, extolling the reliability inherent in the flesh. His novels became popular and were even adapted into films. Dazai, on the other hand, infused his works with the mood of the post-war era, expressing a sense of disillusionment, decline, and the beauty and faint hope that could be found within them. He was critical of post-war democracy and ultimately committed suicide by drowning in the Tamagawa River, echoing his own stories.

These works, emphasizing decadence, violence, and the baseness of human nature, were criticized as follows: "Since the defeat, Japan has not produced anything original or valuable.

" The Akutagawa Prize is awarded to emerging writers who have high commercial value. If these young writers ride the wave of the times, their talents flourish; otherwise, their talents wither away. Shintaro Ishihara's "Season of the Sun" emerged in the literary world and society as a new form of literature that broke through Japan's stagnant state. In 1956, it won the Akutagawa Prize and was adapted into a film.

During that time, the ruling class in Japan was completely overthrown due to the war, and democracy was introduced under the occupation. However, the general public in Japanese society still held onto the Confucian values from before the war. The catchphrase was "Is it immorality or a new morality? The Akutagawa Prize has caused a significant ripple in the world." It was in this way that star Shintaro Ishihara made his appearance. He wrote screenplays for movies such as "Crazed Fruit" and "Waiting for Good News" and also starred in them.

The significance that our generation brings to the era lies in our shared disbelief in established values and, in aPre-war authors. Created by Kenn Kaiko,Susumu Hani,with addition of Kennzaburo Oe,Rokusuke Ei and Shintaro Ishihara,this group of young people eventually became the driving force behind Japanese politics and  culture .

In April 1959, during the wedding ceremony of the Crown Prince, a man who threw stones was featured in Bungei Shunju magazine. During the 1960 security treaty crisis, he was not directly involved in politics but thrived in the world of novels. He wrote the play "The Wolf Walks, the Pig Dies," followed by the novel "The Crevice," which became a bestseller. In "Act and Death," he novelized the feelings of disgust harbored by the perpetrator of the gun incident that occurred in 1965. Shintaro Ishihara, while writing numerous novels, struggled to decide where to direct his passion. Should he bet on literature, become an adventurous activist involved in yachting and sports, or engage in politics?

In 1967, a new era began with the election of Tokyo Governor Minobe. Riding the wave of innovation, many governors were born in Japan. In response, Shintaro Ishihara ran for the House of Councillors in 1968 as acountermeasure, rallying support with the message: "Japan, our homeland, is being manipulated by helmsmen who lack a compass and cannot read nautical charts. They have neither the ability nor the qualifications to carry out true innovation during this turning point in history or to build a country prepared for the future. Let us create a young nation. Let us create the history of the youth. For that, I ask for your support," and he won his first election with 3 million votes.

Subsequently, in the 1970s, Shintaro Ishihara, as a young political figure, broke political taboos and spoke about the ideals stemming from his passion. 

These taboos included the notion that not all wars initiated by the Japanese could be called acts of aggression, the necessity of security measures, and the active development of nuclear weapons. To realize these ideas, he established a nonpartisan policy group called "Seiran-kai" in 1973. 

At that time, Jun Eto commented, "He was gifted with exceptional qualities as both a novelist and a politician, but he did not feel the need for self-training nor did he have a sense of crisis. He did not strive to become a professional.”

"We lived quietly within the thick, mucous-like walls. Our lives were completely cut off from the outside, and strangely confined, yet we never attempted to escape or became obsessed with obtaining outside information. It can be said that we had no concept of the outside world. Inside the walls, we lived fulfilled and cheerfully.

•                                                       Others' Feet                          Kenzaburo Oe

Kenzaburo Oe, born three years after Shintaro Ishihara in Shikoku in 1935, gained recognition during his student years with his work "Strange Jobs" in 1957, followed by the sister work "The Extravagance of the Dead." The latter was based on his experiences during his childhood, 

such as the story of experimental dogs confined behind the fence behind the university hospital barking incessantly at dusk, and killing a pet dog and making a coat out of its fur during his time at a national school during the war.

 He won the Akutagawa Prize with his early work "The Cage," which depicted the fate of black soldiers from the indigenous world of Shikoku in 1958. He became a representative of the new generation of writers, just like Shintaro Ishihara.

Politically, he participated in the Young Japan Association and joined the camp opposing the 1960 security treaty. In 1961, he published novels based on the model of a right-wing youth who assassinated Inejirou Asanuma, the leader of the Socialist Party, in "Seventeen: A Political Youth Dies," and wrote a farewell letter titled "Long Live the Emperor, Devote Our Lives to Our Country" before committing suicide.

 In "Our Age," he further extended the story of sex and politics. The Seventeen hero sought sovereignty outside himself, which seemed more absolute and certain than the freedom and insecurity within, believing that sexuality was the most effective mixer or drill to stir up the calm surface of the post-war late 20th-century type of anti-pastoral reality, as explained in "Solemn Tightrope."

 In the same year, 1961, Yukio Mishima published "Patriotism" in Chuo Koron magazine, where he also novelized politics, eros, and death, inspired by the celebration of life until death, much like Bataille. In "Patriotism," he depicted the imperial system positively, while in "Seventeen," he depicted it critically, thus provoking political issues.

In the 1960s, he actively participated as a writer advocating post-war democracy, such as with "Hiroshima Notes." He stated, "As a substitute for moral education, we had a new time dedicated to the new constitution. Freshly returned from the war, young teachers taught it piously, and we students learned it with tension. 

Even now, I feel that concepts like 'popular sovereignty' and the 'renunciation of war' are the most fundamental morals in my daily life, and the origin of it all lies in the time of the new constitution in the new middle school." His commitment to post-war democracy remained unchanged. Depicting urban individuals of the post-war era and their mythological world, his complex novels became essential readings for intellectuals, and he continued his efforts as a novelist, gaining recognition worldwide.

In the 1960s, during the political season, Shintaro Ishihara advocated liberalism and patriotism, gathering popular support. Kenzaburo Oe became the standard-bearer of post-war democracy, while Kazumi Takahashi received high praise from student supporters of the Zenkyoto with works like "Vessel of Sorrow" and "Isolated and Helpless Thoughts." And Hideo Kaikō thrived as an activist writer. However, with Yukio Mishima's self-immolation and the incident at the Mount Asama Lodge, the political season in Japan came to an end.

The Silence of the Gods Shusaku Endo and Kenzaburo Oe

 Richard Dawkins, in his book "The God Delusion" published in 2007, scientifically examined the concept of God and supernatural religion. He concluded that the existence of God cannot be proven scientifically and that it is not beneficial for society to believe in God.

Natural sciences have provided insights into the origins of life, the birth of humanity, the vast universe, and the microscopic world of atoms. They have also unraveled the mysteries of genetics, body structures, and brain functions. However, unanswered questions remain regarding the issues of life and death, the process of dying, the fear and anxiety that arise from the depths of our hearts, the pursuit of inner peace, the secrets of spiritual enlightenment and salvation, the meaning of existence, the right way to live, and what constitutes a meaningful and worthy life. These are the questions that science has yet to provide answers for, and religion has traditionally addressed them.

The concept of God has existed since ancient times. In Homer's "Iliad," it is stated that human life and death are determined by the whims of the gods. People believed that survival on the battlefield was due to the protection of the gods. Zeus, as the sky god, controlled the weather and determined the outcome of battles. Athena, the goddess of war and wisdom, aided heroes, while Apollo, the god of music and the sun, instilled courage in them. 

People believed that their heightened fighting spirit and creative ideas were influenced by the gods, and even their desires were seen as external forces that could be expelled. Humans were considered playthings of the gods, at their mercy.

Later, Jesus Christ was born and the teachings of divine love spread through his disciples, eventually becoming the foundation of Christianity, the religion of Europe.

 Buddhism, on the other hand, originated in the 5th century BCE with the teachings of Buddha, born on the banks of the Ganges River. It preached the path to liberation from suffering, with concepts such as the Noble Eightfold Path, the afterlife, egolessness, and compassion. Scriptures based on these teachings were preserved in written form and spread widely across the Asian world. Thus, gods were born and worshipped by people, with world religions at the center.

Christianity arrived in Japan during the Sengoku period when Francis Xavier landed in Kagoshima and began missionary activities, quickly gaining followers among feudal lords and commoners. However, Christianity faced persecution under the Tokugawa regime. It was during this time that Endo Shusaku's novel "Silence," published in 1966, depicted the story of Rodrigues, a Portuguese priest who infiltrated Japan and entered a hidden Christian village in Nagasaki with the guidance of a Japanese man named Kichijiro. Rodrigues eventually faced capture by the authorities and was forced to renounce his faith, questioning the divinity of the Japanese Christians' beliefs.

　

Subsequently,Shusaku  Endo  continued to write numerous novels exploring 

the existence of God, religion, and the inner struggles of human beings. In his novel "Deep River" published at the age of 70, he portrayed individuals burdened by guilt and fear of death, seeking ways to escape and find meaning in life, as well as their desire for the reincarnation and rebirth of their departed loved ones.

 The story follows a group of people who embark on a journey to India, where they encounter the reasons why people seek faith and how religions provide answers. The novel suggests that beyond the realm of conscious awareness lies something that our spirits cannot grasp, an entity capable of engulfing the ashes of any deceased individual, offering salvation to the soul—an exploration of the meaning of religion.

"He is ugly, devoid of dignity, miserable, and shabby.

He is despised and rejected by men,

a man of sorrows,"He is ugly, devoid of dignity, miserable, and shabby.

He is despised and rejected by men,

a man of sorrows,

acquainted with grief.

He was despised, and we did not esteem him.

Surely, he has borne our griefs

and carried our sorrows;

　Before 1970,  Kenzaburo  Oe emerged as a prominent writer and critical intellectual figure against the prevailing government of that time. Eventually, his novels began to explore the theme of salvation of the soul and delved into the issues of the human heart in a godless world.

'I traveled the land of men, both men and women. And I heard with my ears and saw with my eyes the terrifying things that wanderers on this cold earth have known. And there, a baby is born in the midst of joy. It is a child conceived in profound sorrow, yet it gladly harvests the fruits sown in bitter grief. If the baby were a boy, an aged woman would receive him, nailing him to a rock, and her cry would be received in a golden chalice.' 

　　　　　　- The Traveler of Knowledge, Blake

In 1984, within the novel ‘How to Kill a Tree' in the story 'The Forgiveness of Sins and Bluegrass,' the narrator, alongside the mystical philosopher Blake's philosophy of forgiveness, recalls his childhood experiences of being abducted by Japanese mythology, vanishing spirits of the forest, and the hidden realm. He felt drawn to the immense power from the darkness. Five days after emerging from the forest, I was found, and my mother gave me a drink made from forgiveness grass. While drinking that forgiveness grass and continuing to sleep, I felt healed.

 At the age of 20, I visited the homeland with my son Hikaru, where the primordial forest existed, heading toward the spiritual world of the ancient Japanese forest village. Gradually, the emotions of sin started to dissipate.

In 1989, in the novel ‘No consolation in Life' seeking a way to overcome personal hardships and find meaning in his own life, the narrator turns to religious literature and begins to embrace a religious way of living. Eventually, she joins a Christian cult group and publishes a story about becoming a saint after death. From 1980 onwards, Oe unfolds stories that seek the salvation of souls in the spiritual realm, intertwined with the issues of Japan's environment and contemporary society.

By the end of the 20th century, various cult groups, including Aum Shinrikyo, were gaining followers. They questioned their followers, asking if they were genuinely contemplating their own lives, living earnestly, or satisfied with living a haphazard life, growing old and dying. People joined these groups with the belief that they could acquire mystical experiences through training. 

Later"In his 2002 novel, 'Somersault,' Kenzaburo  Oe depicts the regeneration of the soul through mystical experiences and the model of Aum Shinrikyo. It tells the story of a certain new religious group, exploring both their present and past narratives. Through transcendent and spiritual sublime experiences, the novel raises the question of whether the crisis of the mind and body can be resolved through their healing power.

"

Drawing from Western mysticism, Kenzaburo Oe crafts a world where Japanese religious tales unfold amidst the verdant valleys of secluded villages nestled within the forest. It presents a portrayal of an era stripped of deities, offering a more profound religious perspective.

神の沈黙 遠藤周作と大江健三郎

  

リチャード　ドーキンスは２００７年「神は妄想である」で神や超自然的な宗教に対して科学的検討を加え、科学的に神の存在は証明できないし、社会にとっては有益とは言えないとして神を否定した。

　自然科学は、生命の出現から、人類の誕生までを明らかにし、無限の彼方の宇宙から、極小の原子の世界まで明らかにした。そして生物の遺伝子や体の構造や脳の機能も解明してきた。しかし、生と死の問題、死にゆくプロセスの解明ではなく死んだらどうなるのか、心の奥底からわきあがる恐れや不安から逃れたい、平静の心を求め、悟りや救いを求める心の動きの秘密、あるいは、生きることの意味を知りたい、あるいは正しい生き方、本当の自分らしい生き方生きるに値する人生とは何かといったことは解答のない問題として残っている。これらの問題に宗教は取り組んできた。

　神は古代から存在した。　ホメロスの「イリアス」で人間は、生きるも死ぬも神の一存である。戦場で生き延びるのは神に守られているからで、ゼウスは天空の神として、天候を支配し、戦いの行方を決める。アテナは戦争の知恵の女神として英雄を助け、アポロンは音楽と太陽の神とし英雄たちに勇気を与える。戦意の高まるのも、何かを思いつくのも、神がそのように仕向けたからで、　また人間の欲望も外からやってくるもので、その欲望を追い払うことができると考えていた。人間は神の見世物で、神の気まぐれに振り回される存在であった。　

　

　その後、イエスキリストが生まれ、ローマ支配下、異端者として処刑される。弟子たちによって神の愛の教えが、やがて、聖書となりヨーロッパの宗教、キリスト教になる。　仏教も紀元前５世紀にガンジス川の河岸に生まれたブッダによって説かれた教えで、苦しみからの離脱の道を、八正道や、死後の世界や無我、慈悲の教えを説いた。これを基にした経典が文字で残され、広くアジアの世界に広まっていった。こうして、世界宗教を中心に、神々は生まれ、人々に信仰されてきた。

　キリスト教が、日本に伝わったのは、戦国時代。フランシスコザビエルが鹿児島上陸して布教活動を始める。またたく間に戦国大名や庶民に広まった。その後、徳川政権ではキリスト教は弾圧される。この徳川時代の長崎を舞台に、日本に潜入したポルトガル人司祭ロドリゴを主人公にした「沈黙」が遠藤周作によって１９６６年（昭和４１年）刊行。ロドリゴは日本人キチジローの案内で、長崎の隠れキリシタンの村に入る。そして彼らに教えを説く。やがて、キチジローの密告によって幕府の役人に捕らえられ、棄教を迫られる。自らの信仰と、村人たちの死に直面し司祭フェイラが棄教し、またロドリゴ自らも踏み絵を踏む。フェレイラは日本のキリシタンが信仰しているのは神ではないと語る。

　　その後も遠藤周作は神の存在、宗教を題材として、人の生き方をめぐる多くの小説を書いた。７０歳の時に発表した「深い川」では、戦争時の生き残ったものの罪悪感や、死への恐怖から逃れる生き方、あるいは妻と死に別れその亡き妻の転生輪廻、生まれ変わりの願望、そして充たされない虚無感を抱え、生きるに値する人生をつかみたいた人たち、それぞれの人が人生の苦しみを抱いて、インドへの旅を共にする。そこでは人々がなぜ信仰を求めるかを示し、宗教はそれにどのように答えるのかを物語のテーマとした。そして、キリスト教以外の様々な宗教にも、我々の意識する世界を超えた、我々の精神が捉えることのできないものが存在し、心に救いをもたらす。どんな死者の灰も飲み込んでくれる大河の存在、そこに宗教の意味、魂の再生の可能性を見出した。

　「彼は醜く、威厳もない、みじめで、みすぼらしい

　　人は彼を蔑み、見すてた

　　忌み嫌われる者のように、彼は手で顔を覆って人々に侮られる

　　まことに彼は我々の病を負い

　　我々の悲しみを担った」

　大江健三郎は１９７０年以前は、当時の政権に対して批判的な知識人の代表的な作家として出発した。やがて小説の主題は魂の救済をテーマにして、神なき人間の心の問題に取り組んだ。

「男らの土地を旅した、男らと女らの土地ををもまた。そして耳にし、眼にもしたのだ、冷たい地上のさすらい人らの、かつて知らぬほど恐ろしいことを。そこで嬰児が生まれる、喜びのうちに。すざましい悲嘆のなかで胎まれた子供なのだが、にがい悲しみのなかで蒔いた、果実も喜んで収穫するように。もし嬰児が男の子であったなら、年老いた女にあたえられる、女はかれを岩に釘ずけて、叫び声を金の盃に受ける。」

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　知の旅人　　ブレイク

　１９８４年「いかに木を殺すか」の中の「罪のゆるしのあお草」の中で神秘思想家のブレイクの罪のゆるしの思想とともに、語り手のぼくが、日本的神話、神隠し、森の精霊による子供の誘拐にあった子供時代を思い出す。闇からの巨大な力を感じそれに惹かれていた。森から５日後、探し出された僕に、母親はゆるし草を煎じて飲ませた。そのゆるし草を飲んで眠りつずけた間に癒されたと感じる。。この始原の森のある故郷を２０歳になった息子のひかると訪れ、日本の古くからの森の村のスピリッチュアルな世界向かっていき、やがて罪の感情は解消していく。

　１９８９年小説「人生の親戚」の中で、自らを苦しめる不幸や、自らの人生を克服する道を求めて、宗教的な文学に向かい、そして宗教的生き方を始め、やがてキリスト教的カルト集団に入り死後に聖女となる物語を出版。１９８０年以降には精神世界の魂の救済を求める物語を日本の風土と現代社会の問題を絡めて展開する。

　２０世紀末にはオーム真理教や様々のカルト集団が信者を獲得していった。信者は、あなた方に問いたい。自分自身の人生を真面目に考えているのか。そして一生懸命生きているのかと。このまま適当に暮して老い、死んでいく人生に満足しているのかと。と考え、また神秘体験を修行によって獲得できると入信していった。そして地下鉄サリン事件をおこした。

　

「宙返り」２００２年では、神秘的体験、神の体験を通して、魂の再生を、オーム真理教をモデルにして描いている。ある新宗教団体のその共同体の現在と過去の物語。超越的なスピリチュアルな崇高な体験を通して、精神と肉体の危機をその治癒力で解決できるのかの物語を書いた。

　大江健三郎は、西洋の神秘主義を用いて、日本の奥深い森の中の緑の谷間の集落を舞台に、神なき時代の、日本の宗教的物語の世界をつくりだした。