In August 28, 1871(Meiji 4), the Meiji Government made a proclamation of "Kaihou-rei(law)", and it caused 10 riots against "Kaihou-rei" by 1873(Meiji 6)in Japan. The purpose of this paper is to study how the first riot against "Kaihou-rei", so-called "Ban・tan-ikki(riot)", broke out. The riot came from proclaiming "Kaihou-rei", but if the riot is to be detailed we need to clarify the situation of Ban・tan region. In those days, directly after "Hai・han(clan)-chi・ken(prefecture)", Banshu region was under Himeji-ken, and Tajima region under Ikuno-ken. And regarding the countermovement against "Kaihou-rei", there is a difference between those 2 regions. And the route of the riot, as is called "Ban・tan-ikki", is regarded as a link that connects Banshu region to Tajima. But in those 2 regions, as previously stated, there is a difference in the form of the countermovement. And by examining closely "Dajoh-ruiten(government's documents)", we see that the one linked route which is stated in "Fu・ken-siryo Hyogo-ken(prefecture's documents)" had originally 2 separated routes. In a word, "Ban・tan-ikki" can be separated into 2 riots, "Ikuno・ken-ikki" and "Himeji・ken-ikki", which is proved by materials for the study, "Oh・shoya-nisshi(diary)" and "Fujimoto-tomegaki(diary)" etc.

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This paper considers cultural translations and adaptations in Meiji-era Japan. It places the focus on San’yūtei Enchō’s Ezonishiki Kokyō no Iezuto (Foreign Brocade as a Souvenir of Ezo-region, 1886–87) based on Wilkie Collins’ The New Magdalen (1872–73). Ezonishiki is a story of Rakugo, a type of traditional one-person oral storytelling, adapted by Enchō, who was the principal Rakugo performer and author of his day. He is still well known as the father of the modern Japanese language due to the impact of his spoken style on the Vernacular Movement.

Reflecting the general socio-cultural trend towards Westernization, adaptations of Western fiction found their way into the Japanese publishing sphere. They modified the foreign to fit domestic sensibilities, often changing Western characters and settings into Japanese. Enchō adapted various Western literary works to suit his audience’s narrative appetites. He transformed Collins’ original story about Victorian social discrimination against a fallen woman into a story about those who were against the Hinin class, which consisted of actors, beggars, and others regarded by feudal Japan as the most socially inferior. This paper also enquires into the following questions: how English-illiterate Enchō learned the original story, what kind of role Enchō took in popularizing Western literature, and what he thought about the Westernization policy promoted by the Meiji government.

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