HAIKU by Basho (17th century)
On a withered branch Kareeda ni
a crow has settled— karasu no tomarikeri
autumn nightfall aki no kure
An old pond Furuike ya
frog jumps in-- kawazu tobikomu
sound of water mizu no oto
Harvest moon: Meigetsu ya
around the pond I wander ike o megurite
and the night is gone yo mo sugara
Where the cuckoo flies Hototogisu
till it is lost to sight—out there kieyuku kata ya
a lone island lies shima hitotsu
So still: Shizukasa ya
into rocks it pierces— iwa ni shimi-iru
the locust-shrill semi no koe
As bell tones fade, Kane kiete
blossom scents take up the ringing hana no ka wa tsuku
evening shade! Yube kana
Leaning upon staves Ie wa mina
and white-haired—a whole family tsue ni shirage no
visiting the graves haka mairi
A lightning gleam: Inazuma ya
into darkness travels yami no kata yuku
a night heron’s scream goi no koe
Summer grass: Natsugusa ya
of stalwart warriors’ splendid dream tsuwamonodomo ga
the aftermath yume no ato
On a journey, ill, Tabi ni yamite
and over fields all withered, dreams yume wa kareno o
go wandering still kakemeguru
General Chronology of Japanese History (with notes on literature).
I. Yamato Period ca 300-645 established a Chinese system of government, accomplished the introduction of Buddhism which became somewhat integrated with the animistic folk-religion, Shinto. This period also saw the establishment of rice farming as the foundation for social growth. Social organization was based upon alliance groups or “families” known as uji with similar commercially linked families known as be. Slavery was a major part of the productive system.
II. Nara period 710-784 involved a strong central government under the Yamato family, with the establishment of the office of Emperor according to Shinto ideals, and a permanent capital. The Shinto conception of the Emperor considered him a descendant of the Divine chthonic forces in nature. This idea of the Emperor’s divinity continued until 1945, when it was renounced by Hirohito at the end of WWII.
III. Heian Period 794-1185 mostly the Fujiwara era, saw the spread of literacy among the elites and development of the warrior class (samurai) representing about 7% of the population. During this period Murasaki Shikibu wrote the tale of Genji. There was an ultimate breakdown of central authority leading to the Minamoto-Taira War (1180-1185), setting the stage for the Feudal Age. Peasant rights to land were established during this period. Overall, the trends of culture moved (a) from civilian rule to military rule, (b) from diplomacy to totalitarianism, (c) from elegance/subtlety to duty/self-discipline, (d) from sophistication to the ideals of heroic behavior, and (e) from religiousity to irreverance for authority. Throughout the entire early period there was continuity of: wet rice agriculture, lineage systems, limited economic independence for individuals, Shinto/Buddhist religion, the Emperial line, aesthetics and prose writing traditions.
IV. Feudal Age (Kamakura Period): Early development of the samurai centered around families or “warrior houses,” with each “house” having a name, reputation, and a code of values or precepts of service. By the 1500s, bushido (“warrior way”) involved a formal value system of straightforwardness, calm, honesty, politeness, care with personal hygiene, self-sufficiency, compassion, and an unwillingness to haggle. Prior to 1500 there was little sustained conflict and little mention of death/suicide with respect to matters of honor. Post-1500 writings on the warrior class emphasized trust, loyalty, respect, and the mutual respect of lords and men under their control. The order of society was: Samurai, Farmer/Peasants, artisans, and merchants. After 1700 there was another transition, as the Buddhist (specifically Zen) framework of bushido gave way to more Confucian conceptions. By the onset of the modern age, the warrior class was an elite more steeped in philosophy and the bureaucracy than in actual conflict.
a. Minamoto Yoritomo becomes shogun 1192—Mongol invasions 1274-1281
b. Ashikaga Period (1338-1573)—feudal decentralization & Portuguese traders
c. Period of Reunification (1568-1600—Korean problems and conflict through the Battle of Sekigahara (1600)
d. Tokugawa Period (1600-1868) In 1603 Tokugawa Ieyasu became shogun—Christian persecutions (1622-1640). At the end of the Tokugawa Period the United States essentially forced Japan into a relationship including exchanges of consuls. No real change occurred, however, until emperor Meiji essentially modernized the social and political life of Japan.
V. Modern Age—this period involves a radical transition instituted by the young Emperor Meiji, leading to the industrial modernization of Japan, the establishment of many universities, and an influx of Western ideas.
a. Meiji Period (1868-1912) Early translations of Western literature.
(1) Karyuu shunwa (“A spring tale of flowers and willows”) [1879]
Shintaishi-shoo (“A selection of poems in new forms”) [1882]
Keishidan [1885]
(2) Various political novels
(3) Japan’s first modern novels
Shoosetsu shinzui (“The essence of the novel”) [1885], Tsubouchi Shooyoo [1859-1935]
Ukigumo (“The Drifting Clouds) [1887-89], Futabatei Shimei [1864-1909]
Nigorie (“Troubled Waters”) & Takekurabe (“Growing Up” Higuchi Ichiyoo (1st modern female writer)
[1872-1896]
(4) The influence of romanticism and Christianity
Hakai (“The Broken Commandment) [1906], Shimazaki Tooson
[1872-1943]
(5) The “I-novel” (shi-shoosetsu) and naturalism
Futon (“The Quilt” [1907], Tayama katai [1872-1930]
(6) The maturation of the novel
Wagahai wa neko de aru (“I am a cat”) [1905], Natsume Sooseki (1867-1916)
b. Teisho Period (1912-1926)
(1) Late works by Meiji authors
Shinsei (“A New Life” [1919], Shimazaki Tooson
[1872-1943]
Kokoro [1914], Natsume Sooseki (1867-1916)
(2) Development of the short story
Rashoomon [1915], Hana (“The Nose”) [1916], Jigokuhen (“Hell Screen”) [1918], Akutagawa
Ryuunosuke (1892-1927)
Han no hanzai (“Han’s crime”) [1913], Kinosaki nite (“At Kinosaki”) [1916], Kozoo no kamisama
(“The apprentice boy’s god”) [1918]
c. Showa “radiating peace” (Hirohito) Period (1926-1989 [1926-1945 & 1945-1989])
(1) Proletarian and war literature
(2) The Master—Tanizaki Jun’ ichiroo (1886-1965)
Chijin no ai (“A fool’s love” trans. As “Naomi” [1925]
Tade kuu mushi (some prefer nettles) [1928-9]
Bushuukoo hiwa (“The Secret History of the Lord of Musashi) [1931-2]
Shunkin-shoo (“A portrait of Shunkin”) [1933]
Sasameyuki (the Makioka sisters) [1942-48]
Kagi (“the Key”) [1956]
d. Heisei Period (“achieving peace”—1989-) Akihito
(1) Dazai Osamu (1909-1948)
Shayoo (“the setting sun” [1947]
Ningen shikkaku (“No Longer Human” [1948]
(2) Enchi Fumiko (key female writer of early Heisei period)
Onnazaka (“the waiting years) [1957]
Onnamen (“Masks”) [1958]
(3) Kawabata Yasunari (Nobel laureate)
Izu no odoriko (the Izu dancer) [1926]
Yukiguni (“Snow country) – serialized several times
Yama no oto (“Sound of the mountain”) [1950-52]
(4) Mishima Yukio (1925-1970)
Kamen no kokuhaku (“Confessions of a Mask”) [1949]
Kinkakuji (“Temple of the golden Pavilion”) [1956]
Hoojoo no umi (“The Sea of Fertility) [1965-1970]
(5) Numerous other authors, including Abe Kooboo, endoo Shuusaku, Shimao Toshio, Kojima Nobuo, Ooe Kenzaburoo, Kurahashi Yumiko, Koono Taeko, Tsushima Yuuko (da. Of Dazai Osamu), Nakagami Kenji.
SOME CONNECTIONS OF JAPANESE Nō DRAMA, LITERATURE, AND FILM
The dramatic tradition of Nō theater has roots in Shinto ritual that developed into several distinctive art forms, all of which enter into more recent literary and cinematic forms.
A brief list of some of the key dramatic forms leading to Nō theater includes:
Kagura – traditional Shinto dramas performed at the imperial palace or at Shinto shrines (songs, dances, ritual, and pantomime).
Dengaku (Rice Paddy Dance) – another Shinto ritual popular in rural areas, adds to the songs and dances of Kagura elements of juggling and acrobatics, and the use of gongs and drums.
Bugaku – a Chinese dramatic dance style introduced into the Imperial Court after the 8th or 9th century. Bugaku was accompanied by large string and woodwind groups.
Gigaku – introduced from Korea in 612 and popular until about the 1100s, evidently incorporated many comic elements and was also associated with Temples. This was evidently the source of the Lion Dance in Kagura, Dengaku, No theater, Kbuki, puppet theater, and other traditions.
Ennen Nō – an extension of Buddhist and Shinto services involving dance, extemporaneous songs, and mimic performances. Developed beginning in the eleventh century.
Dengaku Nō– became popular in the fourteenth century, emphasizing entertainment and continuity with religious performances of earlier forms, including swordjuggling, performance on stilts, and other festival elements. The stage was similar to that used in No theater.
Sarugaku Nō – a form more devoted to artistic vision and devotion of the performers; this form incorporated elements from several other minor styles of performance, and ultimately made a very strong contribution to the development of No theater.
Nō Theater -- the classical theatrical form which was developed in the fourteenth century; the form ultimately developed into several schools, and more than 800 plays remain today from original period texts. The main characters of the pieces may be God, Man, Woman, Madman, or Devil. Tormented ghosts, heroines, and chthonic characters fill the plays, performed with masks on a small stage with musicians sitting upstage. Backdrops, the structure of the stage, and formalisms of acting and movement, create a performance form reduced to almost pure abstraction.