Read sete de iubire by Yukio Mishima Online

sete-de-iubire

Romanul Sete de iubire a fost ecranizat în 1967, în regia lui Koreyoshi Kurahara, cu Ruriko Asaoka în rolul principal.Sub masca imperturbabilă a chipului delicat, Etsuko este un personaj tragic, fascinant. Se avântă orbeşte spre Saburō, fără să-i pese că nesocoteşte tabuul social (ea e o văduvă de familie bună, el – un grădinar de la ţară), tabuul vârstei (Saburō e mai tânRomanul Sete de iubire a fost ecranizat în 1967, în regia lui Koreyoshi Kurahara, cu Ruriko Asaoka în rolul principal.Sub masca imperturbabilă a chipului delicat, Etsuko este un personaj tragic, fascinant. Se avântă orbeşte spre Saburō, fără să-i pese că nesocoteşte tabuul social (ea e o văduvă de familie bună, el – un grădinar de la ţară), tabuul vârstei (Saburō e mai tânăr decât ea), tabuul specific japonez al exhibării sentimentelor (Etsuko face gesturi necugetate, care o trădează). Asemenea Medeei, ea distruge totul pentru o iubire care nu îi poate aduce decât suferinţă şi dezonoare. Admirabil în redarea senzaţiilor şi intens în construirea suspansului psihologic, romanul este un triumf al erotismului, spaimei şi compasiunii....

Title : sete de iubire
Author :
Rating :
ISBN : 19545740
Format Type : Hardcover
Number of Pages : 228 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

sete de iubire Reviews

  • Praj
    2019-04-10 01:36

    A pair of woollen socks! The solitary blue- brown image lingered in my pathetic thoughts, weeks after I had closed down the book. Verses had angrily left me, words refused to find a refuge within my wits and leisurely Mishima’s manuscript had melted into an obscure viscosity leaving behind only the recurring images of a mystified Etsuko and the pair of socks. For weeks I lived with that graphic, gaudily enhancing as the night darkened with every passing hour. How could a harmless pair of socks from Hankyu departmental store bring reckless audacity, such tenderness and then knit a violent despair? Could the diabolical nature of the socks stir up with the slightest tap of human emotions? Were those socks diabolical as the humans tend to become?“What had given this courage? The thunder? The two pair of socks she had just purchased?”Symbolism seizes the pivotal core plunging and deciphering a limitless world beyond human mediocrity. Given Mishima’s palpable affinity towards the art of Noh , the evident usage of significant cryptograms of socks, typhoid, the lion mask , the hospital ward and the mattock among the others , spells every intricate nuances of a capricious face veiled behind a stoic Noh mask. Mishima’s astute narration on the premise of a reluctant heart and cataclysmic love flows into a theatrical Noh prism where the ghosts of the past erect skeletons in the present imprisoning the desires of a heart in a ruthless world.“In the moment a captive lion steps out of his cage, he possesses a wider worlds than the lion who has known only the worlds. While he was in captivity, there were only two worlds to him- the world of the cage and the world outside the cage. Now he is free. He roars. He attacks people, eats them. He is not satisfied for there is no third world that is neither the world of the cage nor the world outside the cage.” A captured heart alien to the world of benevolent love; its reception caged behind the daunting fetters of loneliness and alienation. The burdened heart roars for emancipation from seclusion. The longing to love, the autonomy to love consumed in powerlessness to love. The heart perplexed in a world of duplicity and social repression succumbs to lunacy of obsession and vengeance for it does not know the sincerity of love , as there is no ‘third world’ beyond the emptiness of love, apart from death. Etsuko in her passivity, through her fatal love becomes a destructive yet pitiable figure hampered by her own quest against rising trepidations over her covetousness and its subsequent demise. Mishima elucidates on Etsuko’s temperament by articulating, “she found in the emptiness of her hopes the purest of meanings” A widow of a philanderer husband resides with her lascivious father-in-law in the grimy countryside. Yakichi Sugimoto’s conflicted household was a laborious abode of repulsive absurdities. The prejudices of Chieko and Kensuske floated among the wooden interiors of the household, conjectures of biased moralities hovering over the Sugimoto’s budding illicit associations with Etsuko mirrored through Etsuko’s orphaned existence, her gratification for such dire circumstances vocalized through anaesthetizing her thoughts. Etsuko’s infatuation for Saburo resurrected the primitive naivety previously misplaced in a frigid matrimony. The abundance of love and the intensity of a genuine sexual pleasure derived from the uttered enthusiasm for Saburo fetched a reprieving life-force. Even so, the reception for deliverance was cremated by feverish ravings of covetousness and shadows of Etsuko’s disaffections and guilt. “A feeling of liberation should contain a bracing feeling of negation, in which liberation itself is not agitated.”The protracted abandonment wallowing in the niggling emptiness dominated Estuko’s overwhelming arrogance enslaving her to the creativity of unquenchable passion and the eventual annihilation. The freedom to experience the power of her sexuality cowed to the socially repressive environment tightening Etsuko inescapability from the ongoing tussle of implausible passion v/s the banality of social mores and life as a whole. The tantalizing sight of a half-naked Saburo during the dance at the Autumn Festival of the Hachiman Shrine fiercely clashed her morality into vehemence of her sexuality. Mishima highlights the quintessence of a woman’s sexuality in a communally despotic culture and the acerbic reconstruction of its perversion of a toxic love. ‘Thirst’ develops into a symbolic gesticulation, hunger for implacable desires. Love becomes the timeless nectar guzzled ravenously by a vacant parched heart, incurable, suffocating the vagueness of pain and pleasure.“ The word 'love' had no proper place.”Etsuko was the fated romantic hero in a world where love was misplaced behind the countless agonies, fatigued by the dilemmas of egotistical hunger trapped between the insatiable nature of vengeance and obsession. ; the authentic self polluted by grotesque incongruity. Is love diabolical then? Anger, sorrow, fear, joy; each flourishing sentiment has its eminence on the arousing empathetic dais. Love, however clandestinely incarnates itself baffling the psychosomatic rationalities. The solitary heartfelt emotion coquettishly fleets teasing the human psyche with aspiring gentleness to reincarnate into diversified oblique sentimentalities. Love had metamorphosed into a dreadful entity for Etsuko , love had no proper place then , only proper death.The pair of socks is surely not diabolical after all. For not only did they bring back free flowing verses, but the hued woollen marvels also kept my feet warm while I typed the above words.** [ the photographic illustrations are taken from the 1967 movie adaptation of the novel. ‘Ai no Kawaki’starring the lovely Ruriko Asako ]**

  • Jr Bacdayan
    2019-03-29 00:20

    What is it that prompts us to love? Is it something we have no say in, helplessly falling to its schemes unaware of its happening or is it something we push ourselves into like a drug we so insanely search for. Is it truly a person that is the object of our affection and insanity or is it merely an independent feeling we cultivate in us and then attach to the person most convenient? Thirst for Love is a shattering depiction of self-depravity. Etsuko is a broken woman beyond repair, hunted by the scars left by her torturous husband. No, her name is not the battered wife. Her wounds run deeper; in the recesses of her persona her scabs and sores rot and give off a stench. She is a human being whole on the outside, but inside she is filled with fissures and rents. These cracks invisible to the eye, but readily felt, is infinitely more pronounced than the superficial kind remedied with ointment. Etsuko was subjected to an intense psychological torment that imbedded in her soul was the unwavering belief that she was unwanted, unneeded, and unloved. And so as a way to cope, at the center of her being, wrapped by all she held dear, she cultivated an intense jealousy she worshipped. However the hands of fate interfere with her life and her philandering tormentor of a husband acquires a grave illness. Oh how she reveled in his pain and misery! Oh how she celebrated his every call for help by mentioning her name! And in his dying moments, she was the model wife, not out of love or affection, but out of insane happiness rooted in her knowledge that her jealousy and suffering was bound to flourish stronger than she had known. And so when he was gone, her devil snuffed, she moved in with her husband’s family never more broken, but in her brokenness dwelled her strength. The shattered woman then finds herself in a game of emotional cat-and-mouse. Her proud father-in-law, Yakichi, took her as his own and greedily immersed in her womanhood. Her damaged heart endured, but she finds relief in the eyes of their innocent manservant Saburo. And so she is entangled in a web that tests not their capacity to love, but their ability to endure hurting. Etsuko revels in her pain, in her jealousy. She enjoys the stifling danger of the precarious status quo that at any moment can snap and destroy them all. But then the pangs of love slowly overtake her jealousy and she starts to ache for a resolution that can only bring them all to ruin. We all have a need to be loved, this beautiful oasis we all long for and worship. But will we really die without this paradise, this love from another? This longing, is it so vital to our survival? Can we not draw water from our own wells to feed our thirst? Here is a woman who never knew that her own thirst could be quenched by the spring inside her. Her brokenness left her blind to the pool in her that would have given her life. This pool that reflects, that teaches us accepting who we are and learning to love ourselves is the first step towards the oasis. That to be loved by another, we must first see that there is something to be loved inside of us, and even without it, we can realize that the water of our wells, our appreciation if not love for the self, is more than enough to sustain us. This function was lost to Etsuko, maybe broken by her suffering, and it proved to be her bane.Thirst for love is the story of a woman who only asked that she be loved but was denied. A broken woman, already shattered to pieces, yet is crushed by her own need for salvation. It is thoroughly haunting, nevertheless in her hopeless struggle flashes of intense beauty overwhelmed, the kind of melancholy beauty that only lingers in the tragic, a kind of beauty that grabs the heart and never lets go. The image of a drowning woman comes to mind. She rebels against her fate and strives for the surface with all her might, but the more she fights, the more she sinks into oblivion.

  • Sarah Magdalene
    2019-04-08 21:31

    Really odd coincidence in a way that I picked up this novel last night. I was so stunned by it that I wrote a review straight away. I wasn't going to type it up till later but then I got so annoyed by reading the retarded reviews on Amazon I decided to do it now, while coffeed up. People are such stupid pods, just because they actually read books doesn't seem to make them sensitive or intelligent. Most of them completely missed the subtleties...maybe because most of the reviewers on Amazon are male for some reason. Most reviewers generally are I suppose. Women are trained not to value their own opinions, and men are trained to value theirs too much."Beggars show you their wounds to make you sorry for them. They're horrible. Madam is like some kind of proud beggar."Mishima is a very unusual man in many ways but most of all in his ability to create impressive female characters. It's hard to think of any other male author who can do this. I suppose it's a result of being locked in a room with his grandmother for most of his childhood. She apparently was a fearful and possibly quite insane matriarch, who did not allow him any freedom except in her vast library. No wonder he is also a master of creating oppressive and dysfunctional atmospheres, such as the one that permeates this novel.Etsuko is not just impressive, but quite complex and frightening, and her psychosis is clearly explicable and understandable, which makes her disturbingly easy to identify with. Her madness is really just an extreme version of the very common romantic delusion that turns love into a kind of twisted spiritual quest to heal one's wounds by inflicting pain on others. Her obsession is almost like vampirism, though that is a crude analogy, this idea of an unquenchable hunger is reflected in the title. It makes you think about the energy dynamics involved in the urge to "own" a lover. And about extreme possessiveness as a kind of mania to control and take over a person, psychically as much as sexually. And also of course as a symptom of the rank betrayal which Etsuko experienced in her marriage. The way Mishima portrays her is in fact very sympathetic. He clearly admires her intensity and her sensitivity.She is a sophisticated and intelligent woman, who after her disasterous marriage to a philanderer ends in his gruesome death from Typhoid, moves to the country to live on his fathers farm. She and the father have a strange intimate relationship, which at first seems like abuse, but is soon revealed as quite mutually beneficial. She doesn't enjoy his physical attentions but it gives her a power in the household and over him. The old man is in awe of her, and very jealous when she forms an obsession for a young farm labourer. She in turn is furiously jealous of the young mans relationship with one of the maids. In fact jealousy is her vice, her addiction, which might be why she chose to marry the philanderer in the first place.The younger man himself is without any sentiment. He doesn't understand the concept of Love at all, or even guess that he is beloved, though it is so obvious to everyone else. He is a perfect symbol of youthful callousness. The whole situation is doomed to disaster. From his perspective she is crazy. In fact from any perspective...to fall in love so obsessively is a form of insanity, but even more so when the object is such a vacant and simple character. It's almost as if it is his very blankness, the shining young ignorant emptiness of him that she is so engrossed with. I suppose the blank screen is always best suited for projection.The whole point of the exercise seems to be to cause herself the maximum possible pain, but the situation also says a lot about class, and about the reality of the hierarchical system. There can be no meaningful communication between them, and that is what she fails to comprehend. This total incomprehension somehow translates into obsession, I think because truly understanding someone makes it impossible to maintain such delusions. Even at the end when the penny finally drops there can be no physical connection between them. She does not want his lust but rather his Love, which of course does not exist, and this fine distinction I think is what makes this novel far more interesting and thought provoking than others with a similar theme.As usual Mr Mishima has made my head explode. Nice to know someone out there can still do that.

  • Khashayar Mohammadi
    2019-04-14 22:41

    Tradition vs ModernityMasculinity vs FemininityOld vs NewPride vs ZealFear vs Necessityand the splash of Blood that paints it all.

  • Ana-Maria Negrilă
    2019-03-21 00:14

    Sete de iubire este un roman cutremurător despre dragoste și nepăsare, despre puterea necruțătoare a geloziei, despre dorință și respingere, pe scurt despre o femeie care dorește totul și nu poate ierta nici când i se oferă o parte din lucrul la care râvnește, pentru că simte minciuna ce se ascunde în spate lui. Etsuko este o figură tragică, prinsă între minte și trup, dar care nu își folosește puterea decât pentru a frânge destine, iar povestea ei este impresionantă tocmai prin simplitatea cu care sunt prezentate evenimentele în mijlocul peisajului idilic al unei Japonii marcate de război. continuare

  • David
    2019-04-02 22:16

    I wasn't really feeling this until the scene at the shrine festival, where something cracks and the story falls into place as Saburo mans up and gets sexy. Before then, vague Etsuko appears to be lusting after a pre-pubescent half-wit.I thought Etsuko came through the story rather well, considering everything that happens to her. I assume she's the defence's star witness when Mishima is accused of misogyny? When Saburo said "I love you" to avoid an awkward conversation, I thought "the dumb cow's going to fall for it!" but she was ahead of me and read the situation the best.Yakichi, however, is further proof that Mishima just hates old people.Although the Sugimoto family have land and staff, there's something strangely suburban about the location and attitudes. The women are always cooking or washing-up and we hear about the order in which they take their baths. It feels like the first Mishima I've read set in the commuter belt. I liked Kensuke and Chieko and their commentary on their suburban nightmare.Things I learnt from this book:a) There's a fruit called "pomelo".b) The Takarazuka all-female musical theatre company is named after the Hankyu-Takarazuka railway line."Yakichi said 'Why were you in his room?''I went to look for his diary'Yakichi's mouth moved indistinctly. He said nothing more.""'Sometimes jiltings run in series – like miscarriages. Her nervous system has just got into the habit of it, I suppose, and when she falls in love it has to end in a miscarriage.'""People who only wear ready-made clothes are apt to doubt the very existence of tailors.""The magnitude of pain leads people to believe in the indestructability of the body.""'But why, why, did you kill him?''He was making me suffer, that's why.''But it wasn't his fault.''Not his fault? That's not so. He got what he deserved for hurting me. Nobody has the right to cause me pain. Nobody can get away with that.''Who says they can't?''I say so. And what I say, no one can change.''You’re a terrifying woman.'"

  • Capsguy
    2019-03-22 20:41

    That was intense. Hard to believe he wrote it in his early twenties, although you can see that he expanded upon a lot of elements in his later books: the frailty, hysteria, and ease of manipulation of women; the youthful and masculine man who is adored by these women and in a position to use them for his own gain; and the older man, manipulating the feelings felt by others for his own gain. See Forbidden Colours, published a couple years later.As usual with Mishima, one of the most significant focuses and his trademarks is the psychological depth and the corresponding build up of each character. Even though this is only 200 pages, the mind-frame switches from time to time, although the story is generally focused around a spiteful widow seeking for her own perverted pleasures/gains, Etsuko, who is a mistress to her own widowed husband's father.Dysfunctional characters, the close line between rage and love, and sexual tension make for this a typical Mishima novel. Although, you can see how well his characterisation of older characters matured in later books, cannot but help that his own persona was reflected in Saburo, with less effective emphasis made on other important characters like Yakichi. Regardless, a solid short novel, especially considering that I tend to have less receptive views for novels focused or through the perspectives of females. I do not know why. Could be that I have issues with 'feeling' the character, although this was not really an issue with me for this reading, further heralding Mishima's talent.

  • Nashwa نشوى
    2019-04-01 21:20

    !!رواية غريبة جداً, وصعب تحديد موطن الغرابة..يمكن لولا الترجمة كنت استمتعت بيها اكتر واديتها ال 5 نجوم كاملين..الرواية برغم ان فيها جزء كبير من الملل وده اكتر شيء بكرهه الا إني ماقدرتش ماكملهاشيمكن لأنها كانت ماشية بملل ملل ملل ملل جزء فجأة يصحيك وياخد انتباهك وتنسى اللي فات..كان في اسهاب في الوصف الا انه كان بيوصف المواقف والحاجات بطريقة حسية ومميزة برغم انها كانت في معظم الأحيان ..تشبيهات مظلمةالرواية بتحكي عن سيدة اسمها ايتسوكو.. غامضة صعب تقرا افكارها او كلامها لكن سهل تقرا عاطفتها, شديدة و باردة الأعصاب لكن ضعيفة و شاردة في حضور العاطفة, هي تجسيد لإندفاع المرأة بعطفتها او بشغفها, و ان يمكن النساء لو تركوا للتصرف بالغريزة او الإندفاع ده كان غالباً معظم الرجالة بقوا في خبر كان و قادرين على ده..ايتسوكو كانت متجوزة من راجل كانت بتحبه وهو كان بيحرمها من حبه وبيجري ورا نزواته النسائية, كانت بتهتم بيه وهو كان بيهملها, كانت دايماً منتظراه و مكانش بيرجعلهالحد ما مات او هي سابته يموت لأن في موته موت غيرتها وانتظارها وحرمانها وعذابهاالجنون او الجريمة هو نهاية حتمية لأي امرأة بعاطفة ايتسوكو

  • Unai
    2019-03-24 01:14

    Hay una línea muy fina entre que una historia no te guste, y que el libro no te guste. No me gusta la historia porque me ha causada intranquilidad, me ha agobiado, me ha oprimido. En definitiva me ha trasladado una serie de emociones insanas como las que la propia Etsuke sufre y alimenta. ¿Es por ello un mal libro…? pues debería de considerarse justo lo opuesto. Si ha sido capaz de crearme tan mala sangre es porque ha sabido trasladarme y hacerme entender (y despreciar) los sentimientos de una joven viuda nipona de mediados de siglo, lo cual no es algo para tomarse a la ligera. Es por poner un ejemplo que comentaba el fin de semana, cuando ves “Ensayo sobre la ceguera”, odias profunda, sincera y absolutamente al personaje interpretado por Gael García Bernal, y lo odias porque que el hace un gran trabajo para que tu le odies. Pues esto es lo mismo, que yo no haya dejado el libro (aunque lo he barajado en un par de ocasiones) y haya acabado yendo de la mano con Etsuke por su tormento vital, son precisamente argumentos que validan la calidad de la novela. Mal cuerpo y mala sangre, eso me ha dejado, así que no se si recomendar o no recomendar la lectura de esta novela del torbellino Mishima, de la cual se hizo una adaptación al cine en 1967

  • عبدالله ناصر
    2019-03-21 20:37

    الرواية يختصرها العنوان فالبطلة ايتسوكو الأرملة و التي فقدت زوجها الذي لم يعرف عنه الاستقامة فلطالما عاد إليها في ساعة متأخرة مكتظاً بروائح حبيباته . و عندما تظن أنها انتهت من الحب تماماً و إلى الأبد يرى فيها أب الزوج المتوفي عشيقة أكثر من مثالية و لأن الحب يحلو له أن يكون غريباً على الدوام تقع بدورها في غرام الخادم الوسيم سابورو . و قد اختصر أحد الشعراء القدامى الحكاية بقوله : جننّا بليلى و هي جُنّت بغيرنا و أخرى بنا مجنونةٌ لا نريدها لست متأكداً من البيت تماماً . يغوص الكاتب في أعماق البطلة و يتناول موضوعات الحب الأثيرة الغيرة و العجز و القسوة و كل سلوكيات الحب التي تجعل منّا كائنات أسوأ مما نحن عليه : Dلم أكن يوماً من عشاق الأدب الياباني و هاروكي موراكامي ليس بالاستثناء فلا يمكن القول أنه كاتب ياباني تماماً . غير أن يوكيو ميشيما صاحب لغة بديعة و تشبيهاته في منتهى الروعة فهو عندما يريد أن يقول أن وقت الوزير ثمين للغاية يقول أن كل دقيقة من وقته مطروحة للمزاد العلني . أعتقد أني سأكرر التجربة مع ميشميا قريباً إن شاء الله .

  • Guillermo Galvan
    2019-04-15 19:44

    Thirst for Love has the tragedy of Shakespeare, the romantic scandal of a soap opera, and the brutality of a back alley stabbing.I was hesitant about reading this book because a lot of reviewers underscored it, claiming he was too young when he wrote it. It isn't his best work, but it's still damn good.Thirst for Love is a masterful portrayal of insane jealousy taking place in a psychologically suffocating environment. Read this book if you have an interest in emotionally disturbing literature.This book is a precursor to his later masterpiece The Golden Temple. His early development is fascinating to read. Although it isn't Mishima's best, I never felt Thirst for Love was underdeveloped when taken as an individual work.

  • MirelaPopescu
    2019-03-31 21:40

    “În momentele acelea, nesiguranţa fericirii pe care aş fi simţit-o dacă îşi revenea şi nesiguranţa vieţii lui erau făcute din aceeaşi plămădeală. De aceea, dorindu-mi fericirea — dar nu acea fericire nesigură - chiar atunci, în acea clipă, mi-a fost mai simplu să o găsesc în certitudinea morţii lui decât în nesiguranţa supravieţuirii. Speranţele pe care mi le puneam în viaţa lui, de care trăsese minut cu minut, erau totuna cu dorinţa să moară... Şi totuşi, corpul lui încă se mai zbătea să trăiască. Voia să mă trădeze...”

  • Danae
    2019-04-03 20:40

    Este libro es increíble. Redondísimo y con un final gigante de esos que sorprenden pero después es una sacudida donde una se da cuenta que no podría haber habido otro final.Mishima no le tiene una pizca de miedo a meterse en los lugares más oscuros del alma humana y en eso Sed de Amor comparte mucho con El Color Prohibido, dos libros profundamente perversos. Lo admiro por eso.

  • Tania Lukinyuk
    2019-03-29 00:33

    Эта книга – это моя первая Япония, благодаря Kyiv Bookworms Club. Мои первые вопросы, восклицательные знаки и первый страх перед сдержанной, системной и такой разрушительной культурой. Сюжет построен вокруг Эцуко. Она недавно овдовела и теперь живёт со своим свёкром – Якити. Во всех смыслах этого слова. Якити, внешне спокойная, величавая, надменная, на самом деле совершенно опустошена – она не может отпустить свой брак, в котором муж ей изменял и дрессировал, говоря, что любовь и ревность несовместимы. Короткие рубленные фразы, бесконечная тревога в природе – автор стилистически подчеркивает ту пустоту, которая царит в душе Эцуко. И вдруг она влюбляется. В простого крестьянского юношу Сабуро, в котором примечательны лишь его свежесть юности, на как же она контрастирует с немощностью Якити!Многослойность, многозначность, многомолчаливость, сдержанность – книга-загадка с подсказками в каждом слове и фразе, через которые нужно прорываться к правде. Чувствовать намёки и тонкие сферы на самых кончиках пальцев. Чтобы финал не шокировал, как удар тока, когда ты теряешь ориентацию в пространстве и ощущения в теле.Как многие восточные книги – очень странная. Как многие восточные книги – очень чувственная. Как все восточные книги – многогранная.

  • Yume
    2019-04-19 02:18

    Tenía muchas ganas de volver a leer a Mishima, pero la verdad es que esta historia me ha dejado totalmente fría... Para mí no representa prácticamente nada de lo que suele retratar el autor, y aunque conserva algunas de sus genialidades características, me ha parecido bastante insípido de principio a fin.Creo que posiblemente se trate de uno de los libros que escribía por escribir y vender sin más, porque se nota que no le ha dedicado mucho tiempo elaborar ni la historia ni su desarrollo. Hasta el momento, el libro de Mishima que menos me ha gustado, la verdad.

  • Olga
    2019-03-30 18:34

    Дуже дивна і несподівана книжка. Сама би навряд взял в руки, якщо чесно. Втім текст здався мені дуже кінематографічним, гарні описи осінньої природи та настроїв героїні зробили все це кадрами з якогось фільму. Фільм за книжкою теж є, якщо мені не зраджує пам'ять. Вразила фантазія головної героїні, така інтенсивна і така відштовхуюча. Все це помножене на японські реалії дає в принципі непоганий текст, але перечитувати бажання не виникає.

  • Ruslan
    2019-04-07 00:42

    Great Yukio Mishima.....once more has been overflown with astonishing feelings.....

  • Beverlee Jobrack
    2019-04-11 21:19

    I think Mishima is a powerful writer--his imagery and cadence. He writes in prose poetry. But I had trouble connecting with the people in the novel and found it difficult to sympathize or care about them. I wanted to feel the sympathetic humiliation of the infidelity of Etsuko's husband and her relationship with her father in law, but I could not. She was so restrained yet seething, so alone, but unsympathetic. Is this a metaphor for Japan after the war? A thought provoking book but difficult to embrace.

  • Descending Angel
    2019-03-29 18:31

    Early Mishima. I'm a big fan of Mishima, one of my favorite writers and it was really interesting to read this and see how he grew from writing this to writing The Sea Of Fertility. It's a short book, barely making it to 200 pages and obviously the writing isn't as confident or beautiful as his later work but it is a good story and i really didn't see that ending coming for some reason and it fit well. Looking forward to reading the rest of his work.

  • Johara
    2019-04-05 20:33

    أول رواية أقرئها من الادب الياباني الذي أود التوسع فيه وأقرأ لكتاب متنوعين.بدايتي كانت مع الكاتب يوكيو ميشيما روايته كانت غريبة وممتعه يعيبها بعض احداثها الممله و وصفه الزائد لأشياء غير مهمه في الاحداث.

  • Mario
    2019-04-15 00:37

    Resulta muy interesante el personaje principal, Etsuko, con sus profundos pensamientos relativos a la muerte de su esposo y con su ferviente (e inverosímil, incluso) deseo hacia un joven campesino. A diferencia de otras obras de Mishima, esta carece de ese hermoso lenguaje para las descripciones generales que le caracterizan, aunque manifiesta una gran habilidad al describir el cuerpo humano como siempre. Fue víctima, también, de una deficiente traducción y edición (hay varios errores). Me ha abrumado la intriga, me ha acongojado el final, pero tal vez no tanto como otras obras del autor.

  • Fulya İçöz
    2019-03-24 19:37

    I've been reading Mishima for nearly 15 years. His work has always amazed me. But there are two particularly good books: After the Banquet and Thirst for Love. Thirst For Love is an early work of Mishima yet it's well-crafted. The relationships between the characters and Etsuko's gradual madness resulting in murder are attentively portrayed. The name of the book is Thirst for Love, the main character Etsuko suffers from not getting enough of love and compassion. In the first part of the book ( I separate the book in two sections not Mishima), the lack of connection between Etsuko and her husband causes Etsuko's abnormal jealousy and in my opinion breeds the very seeds of her madness. The edge of madness is not yet to come. During the first part of the book, the plot is relatively calm but it's only the beginning. After her husband dies Etsuko starts living with her father-in-law and her husband's family. There she grows a kind of compassion or interest towards the young servant Saburo. However, Saburo lacks depth and consciousness Etsuko seeks for. Only she cannot perceive this. In the second part of the book, we see the climax of the story. The festival scene where all the passion and truth are revealed. In this scene, I believe Mishima is the master of his art. The colourful depiction of the scene in which Etsuko touches Saburo's back and leaves crutches of a tigress and Saburo's ignorance of it, the perfect conflict of the story. After the festivalm scene, the story speeds up with Miyo's pregnancy, Saburo and Miyo's marriage decision, Miyo's being sacked and the last section. The last section in which the harsh reality slaps Etsuko. Saburo will never ever love her because he doesn't feel deep and real emotions, and her reality too, she really doesn't crave for love, she's just obsessed. And it's a blind obsession. In delirium, she screams and kills Saburo. Now she can get rid of her pain, jealousy and obsession because she kills the very object of them.

  • Tareq Fares
    2019-03-30 23:21

    الرواية تحكي قصة حياة أسرة يابانية تعيش في الريف بعد الحرب العالمية الثانية، رب الأسرة ياكيشي كان موظفاً مجتهداً في عمله اصبح رئيساً للشركة ومن ثم تقاعد لينتقل الى الريف حيث اشترى قطعة ارض زراعية وقرر ان يعيش حياة الهدوء في ملكه الخاص، تضرر ياكيشي من قانون الإصلاح الزراعي الذي سلبه جزء من ملكه ولكنه بقى راضيا بالحياة التي اختارها. يعيش معه في البيت ابنه كانسوكيه وزوجته شياكو في الطابق العلوي من المنزل، زوجة ابنه المتغيب في سيبيريا أزاكو واولادها في قسم من الطابق الارضي اما هو فيسكن في القسم الاخر مشاركا أرملة ابنه الحسناء ايتسوكو والتي كانت تتعطش للحظة حب او علاقة غرامية لان زوجها الراحل كان يهملها وينشغل مع عشيقاته فلم تعش في الحقيقة اي علاقة غرامية ولم تعرف الحب قط.في المنزل أيضا يسكن الخادم سابورو والخادمة ميو في غرفتين منفصلتين للخدم وبينهما علاقة غرامية تدور احداث الرواية حول الحب من طرف واحد (ايتسوكو) للخادم (اسابورو)، احداث الرواية ممله في مجملها وربما الترجمة كان لها دور في اظهار الرواية بهذا الشكل الممل.بالنسبة لي هي اول رواية اقرأها من الآدب الياباني ولن تكون الاخيرة غير اني لا انصح بالبدء بها.

  • Octavio Villalpando
    2019-04-02 22:28

    Esta es una de esas novelas que no te dejan del todo satisfecho. Vaya, no quiero decir que sea mala, por el contrario, es solo que la historia presentada es bastante intensa... aterradora. Jamás logré conectarme con ninguno de sus personajes, lo cual no me impidió seguir atentamente sus acciones.Básicamente, la novela nos cuenta la historia de Etsuko, una viuda que al irse a vivir a casa de su suegro, desarrolla con este una relación sexual, pero que pronto se ve invadida por el deseo que le provoca un joven jardinero, que sin embargo no le presta atención para nada. Entonces, Etsuko empieza a obsesionarse con el de un modo bastante nocivo, llegando incluso a desearle (y causarle) todo el daño que le pueda hacer solo por el hecho de ignorarla. Básicamente es la historia de una desquiciada que no logra discernir los hechos reales concernientes a las relaciones interpersonales y sus propias alucinaciones...Como digo, no es una historia mala ¡es solo que es bastante desesperante!, pero esta brillantemente construida, y en ningún momento deja decaer la atención del lector.

  • Cassandra
    2019-04-09 02:42

    holy crap, Tim. thanks for picking this book. I loved it from start to finish. I highlighted half the thing. it's very subtle in some ways--interpersonal relationships and very deliberate in others. it made me think of haiku's and do some research on form of haiku. this book felt like one giant haiku to me. the juxtaposition of two starkly contrasting images. etsuko and her husband, the hospital. etsuko and yakichi, rural living. miyo and saburo, simple animals. the city and the country. everything was a contrast to something. I loved all the characters. I loved the dialogue and the descriptions. I loved the culture. I just loved it. etsuko is one twisted bitch and saburo was a masterfully written character. goddamn. spoiler alert...and. on top of all that. the ending surprised me. after the "gleaming tracks", I was sure etsuko was going to throw herself in front of the Osaka express train. but that would not have made sense for her. the ending was better Mishima's way.

  • Ala Jadooa
    2019-04-20 23:33

    جريمة ايتسوكو ما هي الا انتقام سافر لإمرأة مجروحة تعاني من حرمان الحب والعشق في حياتها .. فهي قد وجدت وسيلة لإشباع رغبتها الجنسية ، ولو كانت بازدراء ، من خلال علاقتها مع ياكيشي الذي هو والد زوجها فمن خلال هذه العلاقة استمدت ايتسوكو بعض من القوة والسلطة في البيت الذي تشترك به العائلة تقريبا بسكناه .. فهل ان انتقام ايتسوكو الذي وصل الى حد القتل كان لشدة تفاقم غيرتها من علاقة الحب التي ربطت بين خادمتها ميو والعامل سابورو، الذي هو بمثابة السهل الممتنع .. فهي تشتاق وتحن اليه من جهة ولكنها بنفس الوقت تفرح لغيابه ووجوده أمامها يشعرها بالغضب لأنه لم يكترث لحبها ولم يحرك ساكنا .. فآثرت ان تقتله لأجل ان تحافظ على قوتها وسلطتها فهي لا تبحث عن الشبق والجنس بل هي متعطشة للحب وحده .. أم هل هو كبرياؤها الذي منحها كل تلك القوة في تلك اللحظة المحددة لتقف ضد مشيئة قلبها وأحاسيسها وتقضي على حبها وتبرهن لياكشي وللجميع من حولها بأنها ستظل الأقوى ولن ترضى بالخسارة والعذاب مطلقاً ؟

  • وائل المنعم
    2019-03-27 18:41

    مخيبة للآمال، بعد قراءة رائعته "رباعية بحر الخصب" توقعت أفضل من ذلك. رغم أنها روايته الثانية إلا أني توقعتها في نفس مستوى الرباعية لأن من يموت وهو بسن الخامسة والأربعين ويكون بهذه الموهبة عادة ما تكون كتاباته الأولى مبهرة.شعرت بتخبط شديد في رسم نفسية الأبطال ولذلك كان كل أحداث الرواية مفاجئة وغير متوقعة أو مفهومة. لم يعجبني إلا الجزء الخاص بعلاقة البطلة بزوجها المتوفي وخاصة ملازمتها له في المستشفى أثناء مرض موته، ومشهد المهرجان عندما نزلت البطلة إلى أرض الاحتفال استجابة لشبقها. دائما ما تبهرني الثقافة اليابانية، ففي خضم العلاقات الغير سوية بين البطلة وأبو زوجها المتوفي أو حبها المعلن لشاب صغير وتقبل المحيطين بها للأمر لا يفقد أي من أفراد العائلة احترامه سواء من الناحية الواقعية أو الأدبية.الترجمة الانجليزية التي قرأتها عادية ولم أشعر بأي تميز على مستوى اللغة كحالتي مع الترجمة العربية لرباعية الخصب.

  • William Deyo
    2019-04-08 18:30

    This book is so poignant and sad without being indulgent, it's really more effectively sad than most of the sad books I've spent my life reading. It's like... hopeless. Beautifully written.I really wish the ending didn't happen, but that's life. I think there's a lot going on in here with classism, and it really comes to a head with what happens in the end. But I think generally Mishima does a good job of not letting ideology dictate the narrative (from what little I've read), and the ending to this feels uncharacteristically on-the-nose.This thing was a really pleasant read- his prose is so graceful without being flowery. Writing like this reminds me that writing is a craft. This seems like a book I would assign if I were to teach a class on fiction writing.

  • Sophie
    2019-04-17 00:34

    I like a lot this book. I especially appreciate the character of Etsuko, who seems, at first, to be a victim (living away from the city and having to live with her late husband's family, forced to have sex with her father-in-law and so on) whereas she is not a victim at all.I loved the way Mishima wrote how she was delirious happy when she understood that her husband was dying, and how she is mean with Saburo's girlfriend.The ending of the book is very good. The way how Etsuko reacts to what she has done is great. I like a lot how her father-in-law is frightened by her.

  • Santica
    2019-03-27 00:23

    A rather sad tale of a young widow in post WWII Japan. Her unhappy marriage (due to her husband's chronic infidelity) ends with his sudden death. After he dies, she moves from Tokyo to live in his family's compound in a suburb of Osaka where she begins an affair with his father while also falling in love with a young servant who is completely unaware of her feelings. The book was well written, but I found the story somewhat flat at times. However, there was an incredible twist at the end which I did not see coming.