By Shuichi Kato
A brand new simplified variation translated via Don Sanderson. the unique three-volume paintings, first released in 1979, has been revised particularly as a unmarried quantity paperback which concentrates at the improvement of eastern literature.
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Extra info for A History of Japanese Literature: From the Manyoshu to Modern Times
His family were worsted in a court quarrel in 756 and Yakamochi subsequently seems to have enjoyed little political prominence. The last of his many poems in the Man'yoshii was written in 759. Yakamochi's love poems have little individuality either of vocabulary or expression of emotion. Nor is there any particular individuality in his clloka or in the three envoy poems (Vol. 18, poems 4094-7) umgratulatory poems and envoys on tile issuance of tile imperial rescript regarding the production of gold ill Micliilloku in which he took the opportunity to express his loyalty (and that of his family and ancestors) to the emperor.
More, the essential idea of the Urashima story itself - a mortal returning home from a land of 'wizardry' to find that very many years have passed - occurs in Chinese popular tales. Whichever Japanese writer adapted this story, transforming it into such an elaborate tale, must have been an intellectual. Despite the fact that both were written in Chinese and appeared in records compiled by command of the central government, the contrast between the tale of the young couple who turned into pines and that of Urashima also reflects the wider contrasts between the people at large in ancient Japan and the intelligentsia, between indigenous culture and mainland influences, between the everyday world and the 'other' world beneath the waves and between the world of the particular and the concrete and the world of the universal and abstract.
There is no reason to think that the cilOka (long poem) recorded in the Kojiki and Nihon shoh was an older form than that of the folk ballads . In the chiikil form there was a preponderance of 5-7 syllable lines, but the number of syllables in a line was by no means standardized . With some chiikil the last five lines corresponded to the 5-7-5-7-7 tanka form but these lines were not separate in sense from the rest of the poem and did not form a separate poem in themselves . In fact, as far as we can tell, in the folk ballads written in a ncient Japanese there were poems completely without form, those in the pure tanka form and others, such as the juwku-ufa, which fell midway between the two extremes.
A History of Japanese Literature: From the Manyoshu to Modern Times by Shuichi Kato