The aim of this paper is to re-evaluate Shimokōbe-Chōryū (year of birth unknown-1686), a poet in the early Edo Period, through the explication of his poetical method. In the first chapter the word “hitofushi” is examined to prove his willingness to contrive something new quite unlike the Dōjō school. In the second chapter his style of unifying theory and practice is pointed out from several poems composed on the basis of his own poetics Zoku-karin-ryōzai-shū. In the third chapter it is graphically shown that about 41 percent of the whole 133 items in Zoku-karin-ryōzai-shū is used for his poems. Such a scholarly tendency is also found in interaction between commentary and practice. This is why Shimizu-Hamaomi once said that Chōryū was an academic poet. In the fourth chapter his reputation in later generations is chronologically outlined. Although he was generally underestimated, Chōryū is a poet worthy of attention who stood aloof from the Dōjō school and pursued his own peculiar scholarly style.
The aim of this paper is to explore the cultural significance of the collaboration of Kamo-no-Mabuchi and Tayasu-Munetake in the study of “yūsoku-kojitsu” or usages and practices of the ancient court and the samurai class. Referring to his other writings, postscripts, and marginal notes, here I chronologically trace Mabuchi’s progress in research to foreground the important role played by Munetake in the study. Indeed their collaboration affected Mabuchi’s study of classical literature as is typically seen in Genji-monogarari-shinshaku. Finally it is pointed out that Mabuchi and Munetake worked together on “yūsoku-kojitsu” in the historical context of reconciliation between the imperial court and the Tokugawa shogunate.
Many Chinese poems were written about the big earthquake in Edo which occurred on October 2, 1885 or the second year of the Ansei Period. This fad for earthquake poetry was more widespread than has ever been thought before. This paper examines what it was through the bibliographical and textual analysis of Kafuku-shū, the collection of earthquake poems in the Gakken Library of the National Diet Library. As the collection shows, most of those poems were protestation against the government made by poets who fell victim to the earthquake. It tells us that the act of writing in Chinese verse was an important means of expressing one’s political consciousness. The frequent use of the title “Jisin-kō” refers back to the earthquake songs in the Qing dynasty or those written about the Iga earthquake in 1884 which must have triggered the popularity of earthquake poetry in 1885.
Utei-Enba wrote Ka-ni-kuwarenu-majinai-Soga (1779) after the fashion of the kabuki play of the Soga brothers’ revenge to vividly depict the scene of card gambling in colloquial style. This paper examines how the author was inspired by several dramatic works in writing it and points out that the narrative and structural characteristics of “kokkeibon” fiction can be already found in it. The origin of humorous stories in colloquial style is traced through Manzōtei’s comical book Inaka-shibai (1787) to “ukiyo-monomane” mimic performance, but the use of dialects in them can be attributed to vernacular plays in kabuki. It is thus likely that Ka-ni-kuwarenu-majinai-Soga, a dramatic novel written in vernacular style, was the earliest form of “kokkeibon” novel which had a great influence on Shikite-Sanba and other writers of later generations.