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A passage for editorial review. Sryeyiies Crees SX, sae Digitized by the Internet Archive in 2026 httos://archive.org/details/historyofjapanesO000wgas_k7a4 Short Histories of the Literatures of the World Edited by Edmund Gosse LITERATURES OF THE WORLD Edited by EDMUND GOSSE Librarian to the House of Lords, London. CHINESE LITERATURE. By Herbert A. Giles, M.A., LL.D. (Aberd.), Professor of Chinese in the Univer- sity of Cambridge. SANSKRIT LITERATURE. By A. A. Macdonell, M.A., Boden Professor of Sanskrit, University of Oxford. RUSSIAN LITERATURE. By K. Waliszewski. JAPANESE LITERATURE. By W. G, Aston, C.M.G, M.A., late Acting Secretary at the British Legation at Tokio. SPANISH LITERATURE. By J. Fitzmaurice-Kelly, Gil- mour Professor of Spanish Language and Literature, University of Liverpool, ITALIAN LITERATURE. By Richard Garnett, C.B., LL.D., Late Keeper of Printed Books in the British Museum. ANCIENT GREEK LITERATURE. By Gilbert Murray, M.A., Professor of Greek in the University of Glas- gow. FRENCH LITERATURE. By Edward Dowden, LL.D., he rea of English Literature at the University of ublin. MODERN ENGLISH LITERATURE. By the Editor. AMERICAN LITERATURE. By William P. Trent, LL.D., Professor of English Literature, Columbia University. ARABIC LITERATURE. By Clément Huart, Secretary- Interpreter for Oriental Languages to the French Government. HUNGARIAN LITERATURE. By Frederick Reidl, Professor of Hungarian Literature it the University of Budapest. GERMAN LITERATURE. By Calvin Thomas, LL.D., Professor of Germanic Languages and Literature, Columbia University. LATIN LITERATURE. By Marcus Dimsdale, Professor, University of Cambridge. D. APPLETON AND COMPANY, NEW YORK. 75 A HISTORY OF JAPANESE LITERATURE BY WG, ASTON, C.M.G.,. D. Lin, LATE JAPANESE SECRETARY TO H. M. LEGATION, TOKIO NEW YORK AND LONDON D. APPLETON AND COMPANY 1916 CoPpyYRIGHT, 1899, By D. APPLETON AND COMPANY. Printed in the United States of America PREPACE THE Japanese have a voluminous literature, extending over twelve centuries, which to this day has been very imperfectly explored by European students. Forty years ago no Englishman had read a page of a Japanese book, and although some Continental scholars had a useful acquaintance with the language, their contributions to our knowledge are unimportant. Much has been done in the interval, by writers of grammars and dictionaries, to facilitate the acquirement of this most difficult language, and translations by Sir E. Satow, Messrs. Mitford, Cham- berlain, Dickins, and others, have given us interesting glimpses of certain phases of the literature. But the wider field has hitherto remained untouched. Beyond a few brief detached notices, there is no body of critical opinion on Japanese books in any European language, and al- though the Japanese themselves have done more in this direction, their labours are for various reasons in a great measure unserviceable. ‘ The historian of their literature is therefore thrown mainly upon his own resources, and must do his best, by a direct examination of those works which the verdict of posterity has marked out as most worthy of notice, to ascertain their character and place in literature, and to grasp as far as possible the ideas which inspired them. In the following pages comparatively little space has Vv vi PREFACE been devoted to what is necessarily a record of personal impressions and opinions, the outcome of rough pioneer work, and having little claim to be considered as mature literary criticism. It seemed preferable, especially in the case of a literature so little known to the English public as that of Japan, to allot ample room to translated extracts, and to such biographical notices as are neces- sary to show what manner of men the authors were. The general plan, however, of this series has not been lost sight of. Important writers have been treated at com- paratively greater length, to the neglect of many lesser notabilities, and an attempt has been made, in so far as the state of our knowledge permits, to follow the move- ment of the literature, and to trace the causes which determined its character at particular periods. Writers on European literatures are entitled to take for granted, on the part of their readers, a previous acquaintance with the leading facts of the political and religious history of the country with which they are dealing. In the case of Japan, however, it has been | thought not superfluous to add a few data of this kind, without a knowledge of which it is impossible to under- stand the course of the literary development. In justice to Japanese literature, it is right to draw attention to some obstacles which prevent any transla- tions from giving an adequate idea of its merits. The Italian adage is particularly applicable to translators from the Japanese. Even when they have a competent know- ledge of the language they cannot possibly reproduce all the metaphors, allusions, quotations, and illustrations which form the stock of the Japanese author, and which are in great part unintelligible without a profusion of explanatory notes intolerable to the reader. PREFACE vii Another difficulty arises from the fact that a Japanese _word frequently covers a meaning which is only approxi- mately the same as that of the corresponding English term, or calls up quite different associations. The sarasu, ‘for example, is not exactly a crow, but a corvus Japonensis, a larger bird than our species, with different cries and habits. The cherry is, in Japan, the queen of flowers, and is not valued for its fruit, while the rose is regarded as a mere thorny bush. Valerian, which to us is sugges- tive principally of cats, takes the place of the rosebud as the recognised metaphor for the early bloom of woman- hood. And what is the translator to do wit! the names of flowers as familiar to the Japanese as daisy or daffodil to ourselves, but for which he can offer no better equi- valents than such clumsy inventions as Lespedeza, Platy- codon grandifiorum, and Deutzia scabra ? In the world of thought and sentiment, the differences, though less tangible, are even more important. Take the Japanese word for conscience, namely, houshin. It means “ original heart,” and implies a theory that man’s heart is originally good, and that conscience is its voice speaking within him. The words for justice, virtue, chastity, honour, love, and many more ideas of this class, although meaning substantially the same as with our- selves, must yet be taken with differences which are necessarily lost in a translation. When to these are added the ordinary difficulties which beset the task of rendering thought from one language into another, and which are incomparably greater in the case of an idiom so different from our own, it will be seen that it is not possible to do justice to Japanese litera- ture by translation. In the present volume it has often been necessary to pass over the best and most charac- Vili PREFACE teristic passages of an author in favour of others which lent themselves more readily to presentation in an Eng- lish form. With one or two stated exceptions the translations are my own. My best thanks are due to Sir Ernest Satow, Her Majesty’s Minister to Japan, for lending me most of his _ extensive library of Japanese books, and also for supply- ing me from time to time with recent native publications, which have been of much service to me. I cordially associate myself with previous contributors to this series of histories, by acknowledging the benefit which the present volume has derived from the editorial care of Mr. Edmund Gosse. Japanese words and proper names have been intro- duced as sparingly as’ possible. The system of spelling adopted is that of the Royal Geographical Society. It may be described briefly as ‘Consonants as in English, vowels as in Italian ; no silent letters.” W. G. ASTON. CONTENTS BOOK THE FIRST—ARCHAIC PERIOD (BEFORE A.D. 700) PAGE INTRODUCTORY—SONGS—SHINTO RITUALS ° ° . . 3 BOOK THE SECOND—NARA PERIOD (EIGHTH CENTURY) (POETRY CULTIVATED) CHAPTER ‘I, INTRODUCTORY—PROSE — ‘‘ KOJIKI” —‘*IDZUMO FUDOKI”— IMPERIAL EDICTS . : eeeas ‘ 5 5 Atay) Il. JAPANESE POETRY GENERALLY—THE ‘‘MANYOSHIU ”—WORKS IN CHINESE , 5 C é ‘ 4 5 . ; weed BOOK THE THIRD—HEIAN OR CLASSICAL PERIOD . (800-1186) I. INTRODUCTORY . . 7 4 3 , ° : ; eS Il. POETRY—THE “‘KOKINSHIU” . : F . . : aes oS ' JI. PROSE—‘‘ KOKINSHIU”’ PREFACE, ‘‘TOSA NIKKI,” “TAKETORI MONOGATARI,” ‘‘ISE” AND OTHER MINOR MONOGATARI . 63 Iv. “GENJI MONOGATARI ” 6 : : , a : oe oy v. ‘*MAKURA ZOSHI” A i : 3 ; . 6 A . 104 VI. SOME MINOR WORKS ., ‘ “ - ; ° Rhea . 118 VIL.“ YEIGWA MONOGATARI ”—‘‘ 0-KAGAMI”—WORKS IN CHINESE. 122 1x x CONTENTS BOOK THE FOURTH—KAMAKURA PERIOD (1186-1332) (DECLINE OF LEARNING) CHAFTER EAGe, I. INTRODUCTORY , ; F ; é ; . ' ; Ba Il. HISTORICAL WORKS—*‘GEMPEI SEISUIKI,” “HEIKE MONOGA- ‘TARI,” ‘‘MIDZU-KAGAMI,” ‘*HOGEN MONOGATARI,” “HEIJI MONOGATARI” ees : : : : : : + 134 Ill, CHOMEI AND THE ‘¢ HOJOKI”—‘‘IZAYOI NO KI??—POETRY— WORKS IN CHINESE . 3 5 ‘ 5 5 2 : oo 4S BOOK THE FIFTH—NAMBOKU-CHO AND MUROMACHI PERIODS (1332-1603) (DARK AGE) I, INTRODUCTORY—“‘ JINKOSHOTOKI ”’—‘*TAIHEIKI” . =t62 Il. KENKO AND THE ‘¢TSURE-DZURE-GUSA” . 6 Z < E84 Il], POETRY—THE NO OR LYRICAL DRAMA—KIOGEN OR FARCE . 197 BOOK THE SIXTH—YEDO PERIOD (1603-1867) (REVIVAL OF LEARNING) I, INTRODUCTORY—“‘ TAIKOKI” 5 : : ‘ : weuak? Il.