“The Sailor Who Lost The Grace Of The Sea”

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"The sailor who lost the grace of the sea"


Since I began to read the work "the sailor who lost the grace of the sea" I could appreciate that he would have a subliminal message which would not be easy to find, it can be said that the only way to understand the background of the work is to enter theLife of the author, then Yukio Mishimand social due to their participation in wars, and how are Japanese culture.


The work was written in 1963, the year in which Japan had already become a westernized country, because of this Yukio boasts to meet other famous writers and this was a key factor for the work to be inclined to realism andnaturalism. We can observe in the course of the work that Noboru has nihilist attitudes, focusing on an active nihilism where his growing power of the spirit is shown, in addition to constantly questioning the way of acting of his co -star Ryuji.

 The work omnisciently shows a character who is equivocally influenced in his way of acting in front of a father figure;A character dejected in the despair that spies on his mother, invading his privacy and even more a vile and despised character, who kills a cat, to claim himself as a social entity thus breaking his morality.

In conclusion, the work "The sailor who lost the grace of the sea" carries with him a very important message, we can interpret Noboru and Ryuji as a single Japan, with similar passions, but over time this is divided by leaving Eastern Japan next to Japanof Western Japan respectively;And it is, as Noboru shows the desire to recover culture and Ryuji acceptance to change, being able to interpret the title of the work as: the Japanese who lost the grace of his culture.

The sea as a literary object has been widely used when it comes to metaphorizing reality, both to refer to the purity of the soul or on the contrary to the murky that can become this, until it is corrupted, this fact is clearly reflectedIn the work the sailor who lost the grace of the Sea of Yukio Mishima, who was a Japanese author who emerged in the mid -twentie.

 Through his works he expresses the discontent he had towards Japan for allowing westernization to remain, thus abandoning his oriental culture. The essay aims to demonstrate how far the author’s aspiration can influence the form and background of his works, that is why I will focus on what circumstances the Mar-Marino metaphorical sense of the work the sailor who lost the grace of the grace of theMar reflects the author’s wishes?

At the beginning of the work he introduces Noboru, a thirteen -year -I saw the father figure as an arrogant authority that hinders the path to purity, "parents and educators, for the mere fact of being, were responsible for an ominous sin". 

Mishima uses the metaphor very boldly, referring to the phrase of Jean Jacques-Rousseau in his work the social contract "Man is born and society corrupts it" obviously the author refers to his social context where the Japanese population is being beingEMBUUCADA BY A SUBSTIFT Westernization where it is understood that parents and educators are the western countries.

Noboru is defined as a cold and proud person, reaching the point of appearing total maturity, “he liked to imagine his heart as a huge anchor of iron that resisted the corrosion of the sea, and who, disdainful of the oysters and perclabes that harassed the helmetsOf the ships, he sank burnished and indifferent ”. 

In this fragment he speaks of the corrosion of the sea and how his heart resists it, the patriotic spirit of MishimHis heart with a burnished anchor, implying that he cannot be corrupted in any way.

The love that the protagonist has towards a pure sea is clear and given to this fact respects and admires the sailors, they are free and therefore stronger than men on land: Tsukazaki slowly unbuttoned his shirt, then detached himself with easeof clothes. Approximate to the woman’s age, her body seemed younger and more solid than that of any man of land: she had been molded by the sea. 

It is appreciated as Noboru is appearing that the robust body of the sailor is due to the fact that he lives in the sea, emphasizing that the acceptance of the culture itself is the one that makes the individual stronger, the author once again wants to show howCulture affects the strength of the soul of a being. Throughout the work, Noboru’s desire to become a marine. 

Do you want to be a sailor? -His eyes examined her again. (…) -It would have well forgotten if you want. If there is any miserable trade, this is Tsukazaki. ". We can see the pessimism that Tsukazaki has regarding being a marine although he is part of this world, because the sailor accepts that life on land is more comfortable although life in the sea looks pleasant, comparing with the author’s contextWe see how people were gradually adapting to the sudden westernization despite coming from a firm oriental culture.

Ryuji is a sailor who, due to the circumstances of the past, found peace in the tranquility and loneliness of the sea “The only memories of his life on land were of eternal devastation: poverty, illness and death. By becoming a sailor, he had departed from the earth forever ”. It can be seen that for this character life on Earth was not adequate so it decided to become a sailor, it is understood that at first Ryuji as Japanese appreciates its origins so it decides to depart from the western world to lead a quiet life sinceFrom his point of view the westernization caused misery so he decided to remain a true Japanese.

In one of his conversations with Fusako, Ryuji is thinking about how to describe the beauty of life at sea:

The sea, for a man locked all the time on a steel ship, is something very similar to a woman. His storms and calm, or his whims, or the beauty of his bosom are familiar to reflect the west sun. And even more: you are on a ship that rides the sea and rides it, and to which however the sea constantly resists. 

It is the old proverb about the miles and miles of wonderful water where, however, you cannot turn off your thirst. Nature surrounds the sailor with all these elements, as similar to a woman, of which despite everything is as set as a man of the warm and living body of a female can be. And that’s where the problem begins, right there, I’m sure. 

According to Ryuji, the sea for a man of good taste is like a woman in terms of her beauty referring to the beauty that Mishima saw in her culture and that is why she compares her to the beauty of women, who despite her changes, remains faithful to his criteria, as well as the author is faithful to his patriotic feeling.

Noboru’s friends find some satisfaction to merode for areas near the sea. Together again at last, after eating at school they decided that the end of the Yamashita dock, usually desert.

-You probably think that it is very cold there. Everyone thinks, but they are wrong, ”said the boss-. It gives the chance that it is a magnificent coat against the wind.  Here you look like the boss, a friend of Noboru, says that no matter how cold it seems, the port is a safe place to safeguard the wind, you can think that the author refers to the sudden acceptance of the western world in Japan as the windAnd that those who are still faithful to the homeland can find direct support in the port that would be the door towards its cultural origin.


In conclusion, you can see how during the course of the work Mishima tries to explain through the Mar-Marino metaphor what Japan lived after World War II, shows us how he was divided into two visible poles, the western and the Eastern;And in the work it can be seen how Ryuji and Noboru represented these being affected by the social groups surrounding each character.

It is considered as societies affect the way individuals have to appreciate reality, marked by disastrous facts such as the death of so many civilians because of atomic bombs and the beginning of westernization when they forced their emperor to declare themselves with a beinghuman more among them, what caused a great resentment towards their own culture and that is how they began to adapt to the customs of the West being Ryuji who metaphorizes acceptance to change and Noboru who remained firm with his ideal until the end.


  • Mishima, and. (s.F.).
  • Mishima, and. (1963). The sailor who lost the grace of the sea. In y. Mishima, the sailor who lost the grace of the sea (p. twenty-one).
  • Mishima, and. (1963). The sailor who lost the grace of the sea. In y. Mishima, the sailor who lost the grace of the sea (p. 22).
  • Mishima, and. (1963). The sailor who lost the grace of the sea. In y. Mishima, the sailor who lost the grace of the sea (p. 3. 4).
  • Mishima, and. (1963). The sailor who lost the grace of the sea. In y. Mishima, the sailor who lost the grace of the sea (p. 40).
  • Mishima, and. (1963). The sailor who lost the grace of the sea. In y. Mishima, the sailor who lost the grace of the sea (p. 40).
  • Mishima, and. (1963). The sailor who lost the grace of the sea. In y. Mishima, the sailor who lost the grace of the sea (p. 92).

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