Japanese literature

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Japanese literature,

literary works produced in the language of the islands of JapanJapan
, Jap. Nihon or Nippon, country (2015 est. pop. 127,975,000), 145,833 sq mi (377,835 sq km), occupying an archipelago off the coast of E Asia. The capital is Tokyo, which, along with neighboring Yokohama, forms the world's most populous metropolitan region.
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See also Asian dramaAsian drama,
dramatic works produced in the East. Of the three major Asian dramas—Sanskrit, Chinese, Japanese—the oldest is Sanskrit, although the dates of its origin are uncertain.
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Earliest Writings

Although Japanese and Chinese are different languages, the Japanese borrowed and adapted Chinese ideographs early in the 8th cent. in order to render their spoken language in written form. Because Japanese is better suited to phonetic transcription, the result is a language of extremely complicated linguistic construction.

In 712 the new writing system was used in the compilation of orally preserved poems and stories into the Kojiki [records of ancient matters], an account of the divine creation of Japan and its imperial clan. Another historical work, the Nihon-shoki [chronicles of Japan] (721), was written in Chinese. The oldest anthology of Japanese verse, Manyoshu [collection of a myriad leaves] (760), contains about 4,500 poems, many from much earlier times. A number of the poems in this collection are more varied in form and more passionate in statement than those written in later eras.

The Heian Era

The addition of two phonetic syllabaries (katakana and hiragana) during the Heian era (794–1185) opened the classic age, in which Japanese literature reached its first peak of development. Classical Chinese still predominated in intellectual literary circles and official court communications, yet literature in the native language, the only written medium permitted to educated women, gained increasing prestige. In his travel journal Tosa Nikki [Tosa diary] (936), the poet Ki no TsurayukiKi no Tsurayuki
, c.872–945, early Japanese diarist, literary theorist, and poet. Renowned for his erudition and skill in Chinese and Japanese poetry, Tsurayuki took the leading role in the compilation of the Kokinwakashû
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 assumed a female persona in order to write in Japanese.

Much Heian literature of note was written by aristocratic women, foremost among whom was Murasaki ShikibuMurasaki Shikibu
, c.978–1031?, Japanese novelist, court figure at the height of the Heian period (794–1185). Known also as Lady Murasaki, she is celebrated as the author of the romantic novel Genji-Monogatari
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 (Lady Murasaki). Her Genji monogatari [tale of Genji] (early 11th cent.) is ranked with the world's greatest novels. Sei ShonagonSei Shonagon
, c.966?-?, Japanese poet and essayist of the mid-Heian period. She is best known for her Makura no sôshi [pillow book], a collection of anecdotes, reflections, aesthetic assessments, and anecdotes of court life, written from her experiences serving at
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, another contemporary court lady, wrote Makura no soshi [the pillow book], a compilation of miscellaneous notes and reflections that provides an excellent portrait of Heian aristocratic life, with its emphasis on elegance—always an important element of the Japanese aesthetic.

Ki no Tsurayuki was the leading spirit in the compilation of the Kokinwakashu [collection of ancient and modern verse], the first imperial anthology of Japanese poetry. This collection, which established the model for 21 subsequent imperial anthologies, contained some 1,100 poems organized by topic, written in the tanka form of 31 syllables. The Japanese have always esteemed poetry as the highest of literary arts, and poets regarded inclusion in a poetry anthology as a supreme honor.

Medieval Literature

In the subsequent medieval period (c.1200–1600), themes and concerns central to the newly ascendant warrior class took expression in such works as the Heike monogatari [tale of the Heike], an epic account of the struggle between two great clans that ended the Heian period. Much medieval poetry and prose is colored by Buddhist thought. The somber Hojoki [account of my hut] (c.1212) and the elegant Tsurezuregusa [essays in idleness] (1330), both written by Buddhist renunciants, exemplify the range of literary expression proceeding from a Buddhist sensibility. Buddhist tale literature, ranging from collections of short didactic lessons to lengthy narratives, was also widely produced. The most famous of these, the late Heian Konjaku monogatari shû [tales from past and present], consists of over 1,200 stories of tremendous variety and scope.

The medieval period witnessed the development of noh, a serious dramatic form combining dance, music, chanting, and mime, and kyogen, short comedies performed in interludes between noh plays. The greatest writers of noh plays were Kanami Kiyotsugu (1333–84) and his son Zeami MotokiyoZeami Motokiyo
or Kanze Motokiyo,
c.1363–c.1443, Japanese actor, playwright, and drama theorist. Son of the itinerant actor Kanami, at the age of eleven Zeami attracted the attention of the shogun Ashikaga Yoshimitsu, who became his first major patron.
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 (1363–1443), who developed the noh from its primitive origins to the highly purified and rigorous art form that later influenced such Western poets as W. B. Yeats and Ezra Pound. While the prestige and production of the tanka continued undiminished, renga, a linked verse form governed by elaborate conventions, composed by single or multiple poets, became popular in the latter half of the medieval period.

Literary Forms of the Edo Era

Otogi-zoshi, short prose fiction popular among a range of social classes, anticipated the broadening social base of literature that developed with the establishment of the Tokugawa shogunate in 1603, when almost total cultural and physical isolation from other countries created economic conditions that led to a thriving culture of the bourgeoisie. Early Edo prose literature encompassed a diverse range of subjects: didactic tracts, travel guides, essays, satires, and picaresque fiction. Ihara SaikakuIhara Saikaku
, 1642–93, Japanese writer. Saikaku began his literary career as a haikai [comic linked verse] poet, astonishing contemporaries with his skill at composing sequences of thousands of stanzas in a single sitting.
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 was the foremost master of this last form; his novel Koshoku ichidai onna [the life of an amorous woman] is an ironic look at a world of pleasure and eroticism.

The literary tastes of the bourgeoisie also contributed to the development of the kabuki and puppet (joruri; also known as bunraku) theaters. Plays by dramatist ChikamatsuChikamatsu, Monzaemon
, 1653–1725, the first professional Japanese dramatist. Chikamatsu wrote primarily for the puppet stage in the Tokugawa shogunate. His literary work is divided into historical romances (jidaimono) and domestic tragedies of love and duty (
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 Monzaemon (1653–1724), originally written for the puppet theater but adapted into kabuki performance as well, are important in world literature as the first mature tragedies written about the common man. Matsuo BashoBasho
(Matsuo Basho) , 1644–94, Japanese poet, critic, and essayist of the early Edo period. His literary name, Basho, is derived from the plantain trees [basho] near a hut built for him by a disciple. Basho played a central role in the development of haiku.
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, regarded as the greatest of haiku poets, brought the developing haikuhaiku
, an unrhymed Japanese poem recording the essence of a moment keenly perceived, in which nature is linked to human nature. It usually consists of 17 jion (Japanese symbol-sounds).
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, a 17-syllable poem, into full flower. Yosa Buson (1716–81) and Kobayashi Issa (1763–1828) were also important haiku poets. Later Edo fiction, called gesaku, was mostly comic or satirical in nature, although it also included long Confucian didactic tales.

Western Influence

After the dramatic opening of Japan to the West in 1858, the flood of translations from Western literature that followed induced the Japanese to give prose fiction a new direction and psychological realism. Tsubouchi Shoyo (1859–1935) had a profound effect on the modern Japanese novel with his critical study Shosetsu-shinzui [the essence of the novel] (1885), in which he urged the use of colloquial speech rather than the rarefied literary language used by previous writers. Ukigumo [the drifting cloud] (1887–89), by Futabatei Shimei (1864–1909), was the first novel written in colloquial language. The "I novel," a type of personal semifictitious autobiography, was dominant for a time, followed by naturalist and proletarian novels.

Natsume SosekiNatsume Soseki
, 1867–1916, Japanese writer. Soseki ranks along with Mori Ogai as one of two giants of early modern Japanese letters. Although Soseki began his career as a scholar of English literature, he later resigned from his position at Tokyo Imperial Univ.
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 and Mori OgaiMori Ogai
, 1862–1922, Japanese army physician, medical researcher, literary critic, novelist, translator, scholar, and playwright, he is now primarily remembered for his fiction.
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 were two major figures of early-20th-century fiction. Ryunosuke AkutagawaAkutagawa, Ryunosuke
, pseud. of Chōkōdō Shujin
, 1892–1927, Japanese author. One of Japan's finest short-story writers, he derived many of his tales from historical Japanese sources, but told them with psychological insights in an individualistic
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 (1892–1927) is known for his unusual stories based in part on earlier tale literature and folklore. Japanese literature suffered a slump during World War II, when the government censored literary expression it considered contrary to the interests of the state. Nagai Kafu (1870–1959), with his talent for verbal portraiture, nevertheless remained a popular figure during this time.

Postwar Literature

The immense public demand for fiction in postwar Japan has been fed by the prolific output of its writers. Yasunari KawabataKawabata, Yasunari
, 1899–1972, Japanese novelist. His first major work was The Izu Dancer, (1925). He came to be a leader of the school of Japanese writers that propounded a lyrical and impressionistic style, in opposition to the proletarian literature of the 1920s.
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, who won the Nobel Prize in Literature in 1968, has been praised for the delicate aesthetic sensibility of his novels. Junichiro TanizakiTanizaki, Junichiro
, 1886–1965, Japanese writer. A witness to the devastating Tokyo earthquake of 1923, he moved to the Kansai region (the greater Kyoto-Osaka area), where a more traditional lifestyle still prevailed.
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, Yukio MishimaMishima, Yukio
, 1925–70, Japanese author, b. Tokyo. His original name was Kimitake Hiraoka and he was born into a samurai family. Mishima wrote novels, short stories, essays, and plays. He appeared on stage in some of his plays as well as directing and starring in films.
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, Kobo AbeAbe, Kobo
, pseud. of Kimifusa Abe,
1924–93, Japanese novelist and dramatist. Although Abe trained as a doctor, he never practiced medicine. Often compared to Kafka, he treated the contemporary human predicament in a realistic yet symbolic style, often focusing
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, Fumiko EnchiEnchi, Fumiko
, 1905–86, Japanese novelist and literary critic. The daughter of a well-known Japanese literary scholar, she first wrote for the theater, later turning to novels and short stories.
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, Shusaku EndoEndo, Shusaku
, 1923–1996, one of the finest 20th-century Japanese novelists, b. Tokyo. Baptized a Roman Catholic at 11, he is often compared to Graham Greene for his deep concern with religion and moral behavior. Endo studied French literature at the Univ.
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, Sawako Ariyoshi, and Kenzaburo OeOe, Kenzaburo
, 1935–, Japanese writer, b. Ose, on the island of Shikoku. At 18, he left his remote village and traveled to the capital, where he studied at Tokyo Univ. and began writing.
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, who won the Nobel Prize in Literature in 1994, are just a few of the modern Japanese writers who have attracted international admiration.

In their search to define a modern Japanese poetic voice, modern poets and dramatists have both revived old forms and created new means of expression. Akiko YosanoYosano, Akiko
, 1878–1942, Japanese poet, activist, and critic. Best known for passionately romantic verse, she infused the classic tanka poetic form with new life and a heady sensuality.
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 is known for the lushness and eroticism of her tanka; Sakutaro Hagiwara (1886–1942), for his deft incorporation of symbolism into the lyric mode; and Kotaro TakamuraTakamura, Kotaro
, 1883–1956, Japanese poet and sculptor. After studying art in France, where he was profoundly influenced by Rodin, Takamura devoted his career to applying Western aesthetics to Japanese poetry and sculpture.
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, for his free verse on a range of subjects. In modern drama, playwright Junji Kinoshita (b. 1914) borrowed elements from the Japanese folk tradition; Mishima wrote dramatic adaptations of noh plays and Japanese legends, while Minoru Betsuyaku (b. 1937), Makoto Sato (b. 1943), and others pioneered underground theater in the late 1960s.

Although modern Japanese poetry and drama have not received as much attention from the West as have novels and short stories, Japanese literature is recognized as a major branch of world literature, and most major works are available in English translation.


See R. Brower and E. Miner, Japanese Court Poetry (1961); D. Keene, World within Walls (1976) and Dawn to the West: Japanese Literature in the Modern Era (1984); T. Takaya, Modern Japanese Drama (1979); E. Miner et al., ed., The Princeton Companion to Classical Japanese Literature (1985); Ooka and Fitzsimmons, ed., A Play of Mirrors: Eight Major Poets of Modern Japan (1987); H. C. McCullough, Classical Japanese Prose (1990); S. D. Carter, Traditional Japanese Poetry (1991).

References in periodicals archive ?
A man summarily described in the notes as "a Japanese fiction writer," Yasunari Kawabata the Nobel Prize winner for Literature in 1968 contributes a short story, "The Moon in the Water," to the 1958 DR issue.
Hiroshi told me that he sees an affinity between Husain and Kobo Abe, the modern master of Japanese fiction.
A leading haikai poet of the Danarin school based in Osaka, Saikaku (1642-93) turned his attention to fiction in 1682 and wrote the bestselling Koshoku ichidai otoko (The Life of an Amorous Man), which Gundry says literary scholars later posited as the founding work of the ukiyozoshi or "floating world fiction" genre that encompassed the bulk of the late-17th and early 18th-century Japanese fiction. He examines the peculiar mixtures of subject matter, of narrative voices, and of styles that make up the texture of Saikaku's fiction.
In The Rhetoric of Confession: Shishosetsu in Early Twentieth-Century Japanese Fiction, Edward Fowler emphasizes that the I-novel is not a distortion of naturalistic literature imported from the West but is rather based on the traditional Japanese way of thinking about literature (Fowler xvii).
Korean Japanese fiction is a narrative that folds these choices back on oneself.
Older lovers and readers of Japanese fiction and literature may say Filipinos should read the modern writers more (Ooka, for one, wrote the celebrated Fires on the Plain, about Japanese soldiers in the Visayas during the Second World War; and Endo, who wrote the novel Silence, which no less than Martin Scorsese himself is adapting into a movie, tackled overtly Catholic themes).
While Hind views the appropriation of Japanese history and culture in the novel to be part of "an invented country with invented social customs" (21) the novel is not spoken from a universal place but from a specific time and place and it draws content from the topoi of Japan, down to the language of the names and the literary references from Japanese fiction. And the fact that the fiction is replete with falsehoods masquerading as truths does not change the fact that the tone established by the narrative is one in which the real historical experience of Japan is signaled.
Donna Brennan from California (Bookmarks "What Are You Reading Now and Why?" Issue 74, Jan/Feb 2015) is waiting for "some Japanese Fiction" while she reads a history of Japan.
・Our Literature Is in Great Shape: Translator Motoyuki Shibata Discusses Contemporary Japanese Fiction
(38) In his lecture on the development of Japanese fiction of the preceding thirty years delivered at Beida in April 1918, Zhou had praised Tsubouchi's call to arms and concluded his lecture by proclaiming that "[w]hat we are missing most at this very moment is a book that tells us what fiction is all about, a book like the Essence of Fiction" ([TEXT NOT REPRODUCIBLE IN ASCII]).
of British Columbia) examines the narratives of male homosexual literature by famed writers in a range of Japanese fiction, including popular curvature and manga, amateur fiction and critically acclaimed works.
Thus, there were categories like Asian art, Indian philosophy, African art, Japanese fiction, and so on.

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