So far, there have been many essays 'on on'nagaku' (the music played by women) in the chapter of 'wakana,' but not much progress has been made on the music problem since Takao Yamada. However, this problem is not to be averted. Most importantly, 'Koka no shirabe' (a note of a reed flute of Ko<Hu>) imparted to On'na San'nomiya by Hikaru Genji can be identified with 'Hikin no Gaku' (a note of secret koto) in the Utsuho monogatari. And it is not the '18 beats of Koka (Hu reed flute) as was pointed out in the annotations of the Utsuho monogatari,' but Omeikunji by Sekishii in the song with words of the Bunsen (An Anthology). The main theme of the words to summarize, is about the tragedy of Oshokun who had no choice but to accept the incest between son and mother as a social system of Ko (Hu). Therefore, this song of koto is used as a mataphor insinuating the adultery between Hikaru Genji, the instructor of the kinkyoku' (koto song) and his stepmother, Fujitsubo or the deplorable future between him and On'na San'nomiya, 'Kashiwagi' who learned the note from him. This essay is to clarify these effects of Murasaki Shikibu, the woman writer, by considering the music history and conception.

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In the 'Sewa Joruri' (realistic dramas in puppet theater) by Chikamatsu Monzaemon, when a narrator moves on from one scene to another and begins the narration of a new scene, there is a tendency that the later his working period, the more deletion in the end of narrative parts. This reflects the relative process that Chikamatsu's conciousness of the narrative structure changes into that of the dramatic one, because he thinks of 'Joruri' as a drama. When he has the narrative parts unfinished, it may be said that he is deliberately aiming at the independence and suspence of each new scene as his methodological and purposeful effects.

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A study of the old tales by Kunio Yanagida has the final aim to clarify the belief peculiar to Japanese people. Though it has been often pointed out that he mainly studied literary aspects of the old tales, it is necessary to reconsider his subject more in detail. This essay tries to elucidate the relative structure between the ideological, imaginative and emotional tradition in the study of the old tales by Yanagida and literature itself.

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Thirty years ago, Furyumu Tan written by Shichiro Fukazawa brought about a big social impact in Japan, but it has not often been refered to since then. This is not just a sensational novel. This essay tries to examine his dimention of fantasy or his mysterious festival in fantasy by taking his 'popularity' as a clue. It is very significant to reconsider his literature by seizing today's meaning of the novel which can be thoroughly liberated from the restictions of meaning and concept in his imagination.

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