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Japanese zuihitsu (essays) offer a treasure trove of information and insights rarely found in any other genre of Japanese writing. Especially during their golden age, the Edo period (1600-1868), zuihitsu treated a great variety of subjects. In the pages of a typical zuihitsu the reader encountered facts and opinions on everything from martial arts to music, food to fashions, dragons to drama-much of it written casually and seemingly without concern for form or order. The seven zuihitsu translated and annotated in this volume date from the early seventeenth to the late nineteenth centuries. Some of the essays are famous while others are less well known, but none have been published in their entirety in any Western language. Following a substantial introduction outlining the development of the genre, "Tales That Come to Mind" is an early seventeenth-century account of Edo kabuki theater and the Yoshiwara "pleasure quarters" penned by a Buddhist monk. "A Record of Seven Offered Treasures," composed by a retired samurai-monk near the end of the seventeenth century, starts as a treatise on the proper education of youth but ends as a critique of the author's own life and moral failings. Perhaps the most famous piece in the volume, "Monologue," was drafted by the renowned Confucianist Dazai Shundai, a keen and insightful observer of life during the late seventeenth and early eighteenth centuries. Dazai treats, in turn, poetry, the tea ceremony, comic verse, music, theater, and fashion. "Nagasaki Prattle" is an entertaining record of a journey to Nagasaki by a group of Confucianists in the early eighteenth century. In "Kyoto Observed," a mid-eighteenth-century Edo resident compares the shogun's and the emperor's capital in a series of brief vignettes. An 1814 zuihitsu classic written by a physician, "A Dustheap of Discourses" presents another colorful mosaic of topics related to life in Edo. The book closes with "The Breezes of Osaka," a lively essay by a highly cultured Edo administrator contrasting the food, life, and culture of his hometown with that of Osaka, where he briefly served as mayor in the 1850s.

Japanese essays

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Street theater --- Street entertainers --- History. --- Buskers --- Street people (Street entertainers) --- Street performers --- Entertainers --- Civilization --- J6843.30 --- J6800.60 --- Japan: Performing arts and entertainment -- variety entertainments -- circusses, performances of skill, and trained animal shows --- Japan: Performing and media arts -- history -- Kinsei, Edo, Tokugawa period, early modern (1600-1867)

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Before the twentieth century, Japanese religious and cultural life was shaped by a variety of yearly ceremonies, festivals, and customs. These annual events (nenju gyoji) included Shinto festivals in which participants danced through the night to boisterous music and Buddhist temple practices that honored deities, great priests, or temple founders with solemn rituals and prayers—and sometimes, when the Buddha was invoked, raucous dancing. Temples also hosted popular fairs, where holy objects and artwork were displayed to the faithful and curious. Countless other celebrations were held annually at the residences of the nobility and military elite and at commoner domiciles. Kyoto, the imperial—and cultural—capital since the eighth century, was the center of many of these events. From Kyoto festivals, rituals, and celebrations diffused to other parts of the land, ultimately shaping religious, artistic, and everyday life as a whole. By the seventeenth century the Kyoto public wished to inform itself more accurately about nenju gyoji and their dates and meanings. As a result, a growing number of guidebooks and almanacs were written and published for the urban populace.This volume is the first to present translations of two such publications. Introductory chapters explain Japanese conceptions of time and space within which annual celebrations took place and outline how ceremonies and festivals in and about Kyoto were chronicled, described, and interpreted from the earliest times to the seventeenth century. The final two chapters offer annotated translations of writings from the seventeenth century that catalogue and describe the dates, sites, meanings, and histories of many Kyoto annual events. The two works, one largely historical, the other more ethnographic in nature, indicate not only when and where observances and commemorations took place, but also how their authors understood the significance of each. Both translations feature a large number of illustrations depicting events as they appeared in Kyoto at the time.

Festivals --- History --- Sakauchi, Naoyori, --- Namura, Jōhaku, --- Kyoto (Japan) --- Social life and customs --- Calendars.

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Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, yet until now his work has never been translated into a Western language. Edo Culture presents a selection of Nishiyama's writings that serves not only to provide an excellent introduction to Tokugawa cultural history but also to fill many gaps in our knowledge of the daily life and diversions of the urban populace of the time. Many essays focus on the most important theme of Nishiyama's work: the seventeenth to nineteenth centuries as a time of appropriation and development of Japan's culture by its urban commoners. In the first of three main sections, Nishiyama outlines the history of Edo (Tokyo) during the city's formative years, showing how it was shaped by the constant interaction between its warrior and commoner classes. Next, he discusses the spirit and aesthetic of the Edo native and traces the woodblock prints known as ukiyo-e to the communal activities of the city's commoners. Section two focuses on the interaction of urban and rural culture during the nineteenth century and on the unprecedented cultural diffusion that occurred with the help of itinerant performers, pilgrims, and touring actors. Among the essays is a delightful and detailed discourse on Tokugawa cuisine. The third section is dedicated to music and theatre, beginning with a study of no, which was patronized mainly by the aristocracy but surprisingly by commoners as well. In separate chapters, Nishiyama analyzes the relation of social classes to musical genres and the aesthetics of kabuki. The final chapter focuses on vaudeville houses supported by the urban masses.

Japan --- Civilization