Literary And Artistic Panlogism

Yōjurō Yasuda

Literary And Artistic Panlogism

Yōjurō Yasuda

It goes without saying that it is necessary to wipe out the Anglo-American faction in cultural thought and the globalist faction under their influence, but I would also like to see some exposure to the situational ideas and cultural theory of the era of the anti-American Security Cooperation efforts. I do not want to say that I want this, but I think that is the present task of critics.

"Japanism" should not be the final form of the idea of civilisation and enlightenment. This is something we hoped for and asserted several years ago, before the intellectual world criticised our argument as so-called "Japanism." The logic of civilisation and enlightenment has the minor meaning that it aims to gather the world's knowledge in order to arm itself with civilisation.

However, the true spirit of culture-building is not to be found in the spirit of civilisation. The true spirit of cultural construction lies beyond this, and this spirit cannot arise from such collectivism and armoury. The purpose of ideological armament is not to arm oneself, but to foster independent creativity, and the movement towards civilisation misunderstood this spirit.

The military armaments of Britain and America, which only considered a demonstrative and dominant culture, seem to have had the purpose of armament. The culture of our world view should immediately leap forward to a new, enlightened style of militarism.

At the current stage of ideological military warfare, the ideological principle of absolute expulsion of foreigners cannot be established. Moreover, the principle of absolute expulsion of foreigners in ideological and cultural terms must be based on the cultural ideal of the immortalization of the divine land and the eight-fold unity of the Japanese language. This Japanese vision of the world is based on the idea of Japan as a divine nation.

This points the conscience to the ancient paths and establishes the principle of restoration through them. Instead of a unilateral ethical movement that uses coercive force to endow a single ideal, it takes the principle of national self-awareness in the divine tradition preserved in the hearts of the people, and sees the source of the revival of the national ideal in the hearts of the people. In other words, it consistently sees the gods that reside in the hearts of the people as the principles of the nation. No other land or nation in the world today, with the exception of Japan, can hope to recover the myth as the idea of creation in the form of restoration. Japan's mission and place in the world are clearly unique in this respect.

Moreover, the gods that reside in the hearts of the people are the principle of the time in our land. In the modern world, poetry is the only world of the gods that remains in the social life of mankind. This is because the creation of time is what is most sensitive to innate talent. Even in the modern world, poets are the only ones who have not ultimately wiped out genius, nor lost their innate thought. In an age when the West lost its god, only their supra-ethnic and supra-national poets retained traces of God. And they asserted this.

In our own country, the sound of heart and the multitude of worshippers did not lose the gods. Thus, in our country, the most romantic poets who believed in the gods could be the most nationalistic, in contrast to their supranational and ethnic counterparts in the West. This was due to the soundness of our culture and traditions. However, our careless poets did not realise this basic truth until recently.

Today, our people, looking objectively at what they have done with all their intelligence and faculties, are so pious that they cannot believe in what they have done without inviting the gods. This great day of the century is the womb of tomorrow's world thought.

At this time, the ideas of today can clearly be expressed through poetry. Moreover, this age of poetry does not mean that existing poets should be recklessly used to write ideological and vulgar songs.

The meaning of today being the age of poetry has nothing to do with the majority of existing poets, but is an expression of a much greater creative age. The modern age of poetry, in this sense, is an expression of the pioneering poets of our country.

The meaning of this age of poetry cannot be understood when we think that poetry can be created by the wisdom of man or intrigue. Therefore, in order to sing of today to those who have forgotten or lost sight of the gods, I think it would be better to say that today's creative age is an age in which the gods resurrected in the hearts of men. However, poets who dislike such expedient expressions should express this meaning correctly according to the time.