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aesthetic life (biteki seikatsu), 188, 191
Alice (Bulwer-Lytton), 10, 22, 92. See also Ōshū kiji: Karyū shunwa
ambivalence, the novel’s, 4, 8–9, 15, 56–58; in the bildungsroman, 93, 101; in Chinese vernacular fiction, 42–43, 47; in early yomihon, 49; in English literature, 93, 94, 101–3, 110, 113, 114, 128–29, 152, 164, 175, 183, 247n8; and ethical ambivalence in Hakkenden, 22, 61–62, 66–72, 80, 84; in Genji, 28–29, 36–37; in Karyū shunwa, 94, 98, 103, 113; and literary reform, 86, 94; in Meiji novel, 91–92; in scholar and beauty paradigm, 49; in Seiro nikki, 114; in Shunpū jōwa, 129; in Sōseki, 192, 195
Analects (Lunyu; Confucius), 34, 234n79
animals: as allegory, 63–64, 72, 73, 75–80, 82–84, 85; and desire, 67–80; in Hakkenden, 62, 67–80, 82, 84; in yomihon, 61
art (bijutsu), 120, 133–39, 157, 250n48
artistic novel (āchisuchikku noberu), 151–52, 156, 157, 159, 166, 168; vs. didactic novel, 133–39; and style, 239n61
Asai Ryōi, 223n65
Ashikaga Yoshimasa, 77
Austen, Jane, 199
Bai Juyi, 197
Bain, Alexander, 237n39
Bakin. See Kyokutei Bakin
Ban Gu, 213n5
“Bijutsu shinsetsu” (An explanation of the truth of art; Fenollosa), 133
bildungsroman: contradictions in, 93, 101–3, 110, 113, 114, 152, 175, 183, 247n8; and Imotose kagami, 167, 168; and Karyū shunwa, 22, 93, 101–3, 108, 132, 156; marriage in, 102, 103, 156, 158, 159–60, 161, 234n73; passion in, 103, 119, 129, 152; passion (jō; jōyoku) in, 183; and Tōsei shosei katagi, 156–61
Botchan (Natsume Sōseki), 250n45
Bride of Lammermoor, The (Scott), 113, 127–28, 131, 236n20
Brontë, Charlotte, 199
Brooks, Peter, 13
Buddhism: desire in, 35, 85; expedient means in, 27–28, 29, 35, 80, 217n2; and Genji, 37; in Hakkenden, 62, 67, 69–71, 73, 75, 83; and illusion, 73, 85
Bulwer-Lytton, Edward, 23, 29, 121, 125, 126, 171. See also Alice; Ernest Maltravers; Rienzi
Bungakukai (journal; The literary world), 249n24, 249n32
Bungakuron (Theory of literature; Natsume Sōseki), 181, 195–201, 202, 206–8
“Bungaku sekai no kinkyō” (The current state of the world of literature), 185
Burnett, Frances Hodgson, 248n21
Burns, Robert, 203
Carnal Prayer Mat (Rouputuan), 46, 47, 55, 135–36
censorship, 48, 90, 146; and Bakin, 64, 225n15; of Shunsui, 55, 224n88
Chambers, Robert, 134
Chambers’s Information for the People (Chambers), 134
chastity (misao): in Chinese fiction, 21, 48; and enlightenment discourse, 90, 112; in Hakkenden, 57, 61, 64–65, 69–71, 78–79; in Karyū shunwa, 106; in naturalist fiction, 211; in ninjōbon, 15, 30–31, 50, 64; in political fiction, 143–44; in scholar and beauty fiction, 7, 15, 44, 49, 61; Shunsui on, 53, 55, 56–57; in yomihon, 7, 10, 15, 48
Chichibu Incident (1884), 140, 239n62
Chikamatsu Monzaemon, 39, 40, 57, 215n22
Chinese vernacular language: and Bakin, 228n66; Japanese literacy in, 211. See also fiction, Chinese vernacular; poetry: Sinitic
Chinsetsu Yumiharizuki (Strange tales of the crescent moon; Kyokutei Bakin), 124, 126
Christianity, 14, 90, 94, 174, 186
“Chrysanthemum Vow” (Kikka no chigiri; Ueda Akinari), 49
chūhon (middle-sized books), 50, 52, 55, 65–66, 85, 225n16
Chunqiu (Spring and Autumn Annals), 82
civilization and enlightenment (bunmei kaika) discourse: and art, 133; and dreams, 243n24; and education, 95–96, 98, 105, 109–10, 114, 147, 232n41; on gender relations, 89–119, 147, 163–64, 166, 172, 182, 229n3, 233n52; and idealism, 148, 152–53, 155–61, 242n13; and Imotose kagami, 151, 152, 166; and Karyū shunwa, 97, 104, 105, 108, 109, 112, 119; and literary reform, 86, 89–119, 121, 122, 139–47, 187; on love, 109, 112, 118, 119, 121, 123, 132, 154, 163, 165; on marriage, 112–13, 168–69, 182; and ninjō, 1, 10, 13–14, 18, 100, 139–47, 183–84; and the novel, 3–4, 22, 119, 175; and realism, 148, 152, 153; and sexuality, 10, 90, 94–101, 112; Shōyō on, 18, 19, 131, 137, 161; and structures of feeling, 19–20; and Western imperialism, 90, 94–95
Civilizing Process, The (Über den Prozeß der Zivilisation; Elias), 13–14
Confucianism: and Bakin, 62–63; and benevolent rulers, 61–62, 68; and cult of qing, 41; didacticism of, 32, 82, 148; vs. enlightenment discourse, 90; on gender relations, 34, 41–42, 54, 116; and Genji reception, 29, 36, 37, 38, 40; and Hakkenden, 62, 67, 86; on literature, 39, 44, 185, 238n53; and ninjō, 3, 17, 18–19; and Norinaga, 37–38; and political activity, 204; and structures of feeling, 19–20, 42, 216n34
Coningsby (Disraeli), 132, 145, 148, 230n15, 236n29, 241n84
Constitutional Reform Party (Rikken Kaishintō): and literary reform, 23, 122–23, 147; and Mirai no yume, 170, 171; and political fiction, 142, 143, 146, 245n51; and Shōyō, 18, 140, 161, 165
Cowper, William, 203
“Critique of Tōsei shosei katagi” (Tōsei shosei katagi no hihyō; Takata Sanae), 161–62
Dai Nippon bijutsu shinpō (Great Japanese art journal), 133
“Danjo kōsairon” (On the association of men and women; Fukuzawa Yukichi), 163, 233n52
“Danjo kōsairon” (On the association of men and women; Iwamoto Yoshiharu), 163–64, 233n52
Darwinism, social, 151
desire (yu; yoku): and animals, 67–80; Bakin on, 22, 61, 63; in Chinese fiction, 28, 41, 43, 44, 48; control of, 13–14, 19, 32–33, 93, 97, 116, 136; and cult of qing, 41, 42; vs. didacticism, 31–35; in early yomihon, 48–49; and enlightenment discourse, 10, 90, 94–101, 112; erotic (jōyoku), 1, 3–5, 7, 8, 10–16, 20, 21, 35, 53, 94, 95, 97, 136, 189; in Genji, 36, 37, 47; in Hakkenden, 66–80, 83, 84; and illusion, 73–80, 81; vs. love, 45, 90; in poetry, 30, 32, 34, 47, 193; in political fiction, 143; and Seiro nikki, 116; Shunsui on, 2, 30–31, 53–59; and Tōsei shosei katagi, 153–54; and vital energy, 71; Zhu Xi on, 33–34. See also licentiousness; love; passion; sexuality
Dickens, Charles, 126, 162, 243n21
didacticism: of Bakin, 6, 7, 11, 18, 22, 60, 63, 64, 66; in Chinese fiction, 43, 48; Confucian, 32, 82, 148; and cult of qing, 42; vs. desire, 31–35; and enlightenment discourse, 4, 119; in fiction vs. history, 81–82; in Genji, 28–29, 37, 38, 41, 46, 75; in Hakkenden, 7, 60–64, 66, 67, 69, 77, 80, 83, 84, 141, 239n56; and Imotose kagami, 151, 163, 166; and Karyū shunwa, 111; in licentious books, 30, 43, 46, 47; vs. licentiousness, 58, 84, 85, 119; and literary reform, 121, 122–23, 186, 187; and Mirai no yume, 169; and ninjō, 1–2, 14, 15, 20, 91, 152; in ninjōbon, 58, 60, 175; and the novel, 4, 10, 41, 133–39, 180, 211; in poetry, 30, 31–32, 35, 38, 41; political, 140–47, 148; in realism, 122, 137–39, 142–47, 157, 166, 239n56, 240n70; rejection of, 210–11; in scholar and beauty paradigm, 49; Shōyō on, 11, 23, 122, 135, 137–39, 171, 238n52; and Shunsui, 7, 52, 53, 54, 55, 57; and Tōsei shosei katagi, 157, 161; in yomihon, 8, 60. See also kanzen chōaku
didactic novel (jidakuchikku noberu, kanchō shōsetsu), 133–39
Disraeli, Benjamin, 132, 144, 145, 146, 148, 230n15
Dōjimon (Questions from children; Itō Jinsai), 38–39
Dumas, Alexandre, 125, 141, 235n14, 240n66
Edo hanjōki (Record of the prosperity of Edo; Terakado Seiken), 54–55
Edo-Meiji transition, 3, 5–12, 86; and ninjō, 12, 20
Edo period, 3, 21, 34; Chinese literature in, 42–43, 44–48, 62–66; later, 35–41; nanshoku in, 15–16
education, 234n77; and enlightenment discourse, 95–96, 98, 105, 109–10, 114, 147, 232n41; of lower classes, 232n41; of women, 89, 95–96, 98, 105, 109–10, 114, 147, 163, 172, 186
“Eikoku shijin no tenchi sansen ni taisuru kannen” (The conceptual attitude of English poets toward heaven and earth, mountains and rivers; Natsume Sōseki), 203
Eisai shinshi (New talent chronicle; journal), 110–11
Elias, Norbert, 13–14
Eliot, George, 126
Emmerich, Michael, 213n4
emotion: history of, 12; and modern literature, 5, 16–21. See also ninjō
emotional communities, 12
emotions and customs (human emotions and social customs; ninjō setai): and new concept of literature, 186, 187; novel of, 23–24, 37, 40–41, 51, 133, 182–83, 184; and realism vs. idealism, 139, 141, 142, 148, 152, 153, 157–58, 172, 175, 180, 190, 247n7; Shōyō on, 23–24, 120, 170, 172, 180, 182–83; in Tōsei shosei katagi, 154, 157–58, 161; Western enlightened, 155–56, 157, 164; in Western literature, 127, 146, 150
England, 92, 173, 230n13; and civilization, 112, 151–52, 164
enlightenment, European, 93, 102, 105, 106, 129, 140, 228n3, 233n54
“Ensei shika to josei” (The disillusioned poet and women; Kitamura Tōkoku), 186
Erdumei (The plum blossoms twice), 65
Ernest Maltravers (Bulwer-Lytton), 10, 22, 29, 92, 93; as bildungsroman, 101–3; and Imotose kagami, 149–51, 164, 166. See also Ōshū kiji: Karyū shunwa
expedient means (hōben; upāya), 27–28, 29, 35, 80, 217n2
“Famous Place in the World of Letters: The Bottomless Lake” (Bunkai meisho: Soko shirazu no mizuumi; Tsubouchi Shōyō), 174
Feng Menglong, 98, 221n44, 231n29
Fenollosa, Ernest, 133
fiction: contradictions in, 30, 35, 42, 43, 84–86, 93, 101–3, 110, 113, 114, 128–29, 152, 175, 183, 247n8; Genji on, 27–29, 35; vs. history, 5, 27, 28, 81–82; as illusion, 75–76, 80–84; ninjō in, 3, 8, 17, 20, 21, 22, 30, 41, 44, 50, 56, 58; proletarian, 211, 216n33; serialized, 45, 64, 89, 95, 113, 129, 169, 190, 236n30; vs. truth, 75–80, 134–35. See also novel, the; particular genres and titles
fiction, Chinese vernacular, 209, 222n62; and Bakin, 62–66, 75–76, 85; and cult of qing, 21, 42; Japanese study of, 40, 45–46; and ninjō, 3, 8, 20, 21, 22, 30, 41, 56; and ninjōbon, 50, 57; and private vs. public, 43; supernatural, 48–49; and yomihon, 6, 59–60. See also scholar and beauty fiction
fiction, historical, 45, 59–60, 121, 126
fiction, political: and kanzen chōaku, 141, 146, 147, 148; and male subject, 142–43, 148; novel as, 112, 122–23, 141, 146, 171, 236nn29–30, 241n84, 245n49; and People’s Rights Movement, 112, 122, 141, 169; and political parties, 141–44, 146, 236n30, 245n51; and realism, 141, 142, 146, 186; Shōyō on, 141–47; and social reform, 143, 144, 147–48
“Fishhawk” (Guanju; Shijing), 31–32
Fleming, William, 42–43, 222n54
Flueckiger, Peter, 17, 18, 19, 35
foreigners, cohabitation with (naichi zakkyo), 169–70
freedom, individual, 101, 247n8; and enlightenment discourse, 19, 102, 140, 163, 172, 183; in gender relations, 14, 163–65; and marriage, 102, 117, 163, 172, 234n78; and passion, 93, 94, 114, 129; and politics, 93, 104, 117, 165; and social class, 116, 165
French Revolution, 141, 240n66
“Fujin no chii” (The position of women; Iwamoto Yoshiharu), 89, 108, 236n22
Fūkai: Kyō waranbe (A satire: Capital braggart; Tsubouchi Shōyō), 165, 244n42
Fukuchi Ōchi, 9
Fukushima Incident (1882), 140, 141, 239n62
Fukuzawa Yukichi, 95–96, 97, 230n20, 233n52
Furansu kakumeiki: Jiyū no kachidoki (Record of the French Revolution: A battle cry of liberty; Miyazaki Muryū), 240n66
Futabatei Shimei, 172, 237n40, 247n5
Futon (The Quilt; Tayama Katai), 211, 243n18
Gaisei shiden. See Kaikan hifun: Gaisei shiden
Gakumon no susume (An Encouragement of Learning; Fukuzawa Yukichi), 95–96, 97
Gan (The Wild Goose; Mori Ōgai), 98
geisha, 7, 52–55, 153–60, 214n12. See also prostitution
genbun itchi (unification of spoken and written languages) style, 182, 189, 211, 246n3, 247n5
gender, 13, 19, 22, 62, 227n45, 251n53
gender relations: civilizational stages of, 89–90, 228n3; Confucianism on, 34, 41–42, 54, 116; enlightenment discourse on, 89–119, 147, 163–64, 166, 172, 182, 229n3, 233n52; freedom in, 14, 163–65; in Imotose kagami, 162–69; in Karyū shunwa, 103–8, 112–13; and Karyū shunwa’s readers, 94–101; and ninjō, 40, 121, 184; in political fiction, 142, 143; satires of, 182; in Seiro nikki, 114–16; teacher-student, 102, 105–6, 114, 156–57, 243n18; in Tōsei shosei katagi, 154, 156–57
Genji gaiden (Discursive Commentary on Genji; Kumazawa Banzan), 36–37
Geppyō kigū: Ensai shunwa (Strange encounter in the moonlight: Spring tale of love and talent; Kikutei Kōsui), 113, 116. See also Sanpū hiu: Seiro nikki
gesaku (playful writing), 6–10, 98, 163, 210; and Bakin, 60–61; commercial publication of, 48, 230n15; on Meiji oligarchy, 244n43; and the novel, 8, 9, 121, 214nn14–15; Shōyō on, 10, 126, 132; and Tōsei shosei katagi, 153, 154, 159, 160
Giddens, Anthony, 103
Gluck, Carol, 184
Goethe, Johann Wolfgang von, 103, 216n29, 232n44
gōkan (bound picture books), 6, 8, 9, 48, 225nn7–8
Goldsmith, Oliver, 203
“good wife and wise mother” (ryōsai kenbo), 96
Gottschall, Rudolf von, 247n7
hachimonjiya books, 46, 222n57
haikai (comic linked verse), 45–46, 47
haiku, 181, 190, 196, 199, 250n45, 251n53; and emotional distance, 192, 193, 194; and Kusamakura, 206, 207, 208
Hakkenden. See Nansō Satomi hakkenden
Hanasanjin, 50
Haoqiuzhuan (The Fortunate Union), 44, 63, 64
harmonizing method (chōwahō), 197–98, 207
Harutsugedori (The warbler announcing spring; Tamenaga Shunsui), 57, 233n55
Hattori Bushō, 98
Hattori Hitoshi, 66
Hedberg, William, 47
Hino Tatsuo, 51–52
history: vs. fiction, 5, 27, 28, 81–82; official (seishi), 27, 28, 81, 138, 238n52; unofficial (haishi), 5, 81. See also fiction, historical
History of Sexuality, The (Histoire de la sexualité; Foucault), 14
Hongloumeng (Dream of the Red Chamber; Cao Xueqin), 43, 66, 228n66; mirror allegory in, 84–85
Hosokawa Masamoto, 76–77
Hototogisu (Cuckoo; haiku journal), 250n45
Hototogisu (Cuckoo; Tokutomi Roka), 184
Houghton, William, 123
Hozumi Ikan, 39
human affairs (jinji), 189, 190, 196–99; emotional distance from, 191–95; in Kusamakura, 202, 207
human nature (xing; sei), 33–34
Ibsen, Henrik, 188
Ichidoku santan: Tōsei shosei katagi (Reading it once and sighing thrice: Characters of present-day students; Tsubouchi Shōyō), 23, 118, 152, 153–62, 169, 242nn9–10, 243n29; and Imotose kagami, 166, 168; and new concept of literature, 186; prefaces to, 157–58; rewriting of, 182; Shōyō on, 146–47, 172
idealism: aporia between realism and, 23, 137, 139, 141, 142, 148, 149–75, 180, 190, 238n47, 242n13, 247n7; of Bakin, 6, 7, 11, 86, 91, 136, 137, 171, 173; and enlightenment discourse, 153, 242n13; German, 246n66; in marriage, 162–69; and new concept of literature, 186, 211; Sōseki on, 199, 202, 207, 208
ideals, submerged (botsurisō), 153, 173–75, 247n7
Ihara Saikaku, 39
Ikkyū (monk), 77, 78, 79, 80, 83
Ikuta Chōkō, 210–11
illusion: and blindness vs. sight, 76, 79–80, 81; in Buddhism, 73, 85; and desire, 73–80, 81; in fiction, 75–76, 80–84; literary (genwaku), 195–99, 206, 207
Imotose kagami. See Shinmigaki: Imotose kagami
Inaka shinbun (Country newspaper), 113
inbi (hidden subtlety), 72, 81, 82
irogonomi (elegant pursuit of erotic romance), 14
“Iro” to “ai” no hikaku bunkashi (A comparative cultural history of “lust” and “love”; Saeki Junko), 14
Ishibashi Ningetsu, 163
Ito, Ken, 183
Itō Baiu, 39
Itō Jinsai, 35, 38, 40, 44–46, 54
Ivanhoe (Scott), 124
Iwamoto Yoshiharu, 129, 147; on gender relations, 89–92, 108, 163–64, 172, 233n52; and Imotose kagami, 162, 163; and new concept of literature, 186; on spiritual love, 90, 91, 94, 96; on stages of love, 154, 228n3; and Tōsei shosei katagi, 157, 162
Izumi Kyōka, 184
James, William, 196
Japanese literary style: Bakin’s eclectic (hakuzatsu zusan), 56; in foreword to Karyū shunwa, 127; and genbun itchi, 182, 189, 211, 246n3, 247n5; national standardized, 211; Sinified, 97, 98, 100, 109, 116, 118, 127, 220n29, 222n55; vernacular (zokugo), 6, 36, 38, 39, 46, 50–51, 55–56, 182, 244n33
Jigoku no hana (The flowers of hell; Nagai Kafū), 188–89
Jinpingmei (Plum in the Golden Vase), 5, 7, 8, 30, 43–45, 47, 48; and Bakin, 22, 45, 61, 64, 225n8; and cult of qing, 21, 45; and Hakkenden, 75, 76; and Imotose kagami, 150; and ninjō, 20; and ninjōbon, 57, 58; readers of, 98, 150; Shōyō on, 29, 135–36
Jinsai school (Itō Jinsai), 37–38
Jin Shengtan, 82
Jippensha Ikku, 9
Jitensha nikki (Bicycle diary; Natsume Sōseki), 250n45
Jiyū no tomoshibi (Torch of freedom), 142, 143, 146
Jogaku zasshi (The journal of women’s education), 89, 96, 114, 147, 163, 172, 186
“Jojibun” (On narrative description; Masaoka Shiki), 189
Journey to the West (Xiyouji), 43
Jūemon no saigo (The End of Jūemon; Tayama Katai), 189
Julie, ou la nouvelle Héloïse (Julie, or the New Heloise; Rousseau), 102, 105
“Jūsan’ya” (“The Thirteenth Night”; Higuchi Ichiyō), 173
Kabasan Incident (1884), 140, 239n62
Kaidan botan dōrō (Peony Lantern Ghost Story; San’yūtei Enchō), 118
Kaikan hifun: Gaisei shiden (A tale of indignation: Chronicle of a patriot’s life; trans. Rienzi; unfinished; Tsubouchi Shōyō), 129–32, 145, 236n29
Kaikan kyōki kyōkakuden (Open them and marvel at their wonders: Biographies of chivalrous heroes; Kyokutei Bakin), 64–65
“Kaioku mandan” (Reminiscences in idleness; Tsubouchi Shōyō), 125
Kajin no kigū (Encounter with beautiful women; Tōkai Sanshi), 143
Kanagaki Robun, 236n30
Kansei era (1789–1801), 50, 223n71
Kansei reforms (1787–1793), 48
kanzen chōaku (promoting virtue and chastising vice): and Bakin, 6, 60, 63; and Genji, 37, 38, 75; in Hakkenden, 60–64, 66, 67, 69, 77, 80, 82, 83, 84; in licentious books, 46, 47; in poetry, 35; in political fiction, 141, 146, 147, 148; rejection of, 210–11, 240n70; in scholar and beauty paradigm, 49; Shōyō on, 122, 135, 137, 138, 139, 174; and Shunsui, 54, 55
Karyū shunwa. See Ōshū kiji: Karyū shunwa
Katō Sen, 243n17
Keikoku bidan. See Tēbe meishi: Keikoku bidan, 234n84, 236n29
Keisai Eisen, 78
Ken’en Academy (Edo), 45–46
“Ken’i hyōbanki” (Critique of Hakkenden and Asaina shimameguri no ki; Kyokutei Bakin), 71
Kenilworth (Scott), 124
Kenmu Restoration (1333), 65
Ken’yūsha (Friends of the Inkstone Society), 183
Kikuchi Dairoku, 134
King Lear (Shakespeare), 174
Ki no Tsurayuki, 217n1
Kinsei mononohon Edo sakusha burui (Recent storybooks: A classification of Edo authors; Kyokutei Bakin), 60
Kogidō (Hall of Ancient Meanings) Academy, 38–39, 40, 46
Kokinshū (Collection of Ancient and Modern Poems), 31, 217n1
kokkeibon (books of humor), 6, 9, 55, 153, 154, 159, 242n8
“Kokuji shōsetsu tsū” (A guide to the novel in native script; Kimura Mokurō), 7–8, 59
Kokumin no tomo (journal; The nation’s friend), 147, 172
“Kon’inron” (On marriage; Iwamoto Yoshiharu), 163
Konjiki yasha (Gold demon; Ozaki Kōyō), 184
Kornicki, Peter, 238n50
kōshoku ehon (erotic picture books), 224n88
Kuki Shūzō, 15
Kunikida Doppo, 184, 189, 248n13
Kusamakura (The grass pillow; Natsume Sōseki), 181–82, 184, 190, 197, 199, 201–8; emotional distance in, 191–95; natural landscape in, 202–3, 207; Sinitic poems in, 201, 202–6, 207, 208
kusazōshi (picture books), 6, 8, 55, 168, 224n88, 225n7, 242n10
Kyokutei Bakin, 6–13, 59–86; adaptations by, 7, 44, 50, 51; on desire, 22, 61, 63; didacticism of, 6, 7, 11, 18, 22, 60, 63, 64, 66; eclectic (hakuzatsu zusan) literary style of, 56; and English literature, 124, 126, 128, 131; idealism of, 6, 7, 11, 86, 91, 136, 137, 171, 173; and Imotose kagami, 163, 168; and kanzen chōaku, 6, 60, 63, 174; and licentious books, 58, 61, 62–66, 85; on licentiousness, 30–31, 80–81; and literary reform, 91, 121; vs. modern novel, 210–11; and ninjō, 7, 12, 61–64, 62, 66, 226n24; on the novel, 9, 173, 175, 238n53, 239n61; and political fiction, 141–42, 145, 146, 148; and scholar and beauty fiction, 22, 45, 61, 63–66, 85, 225n16, 226n20; and Shōyō, 6, 23, 60–61, 92, 118, 122, 125, 132, 135–37, 139, 148, 171; and Shunsui, 54, 55, 57; and Tōsei shosei katagi, 154, 158, 162; and Water Margin, 47, 63, 66, 225n6; yomihon of, 5–9, 16, 49, 50, 53, 58, 59, 61, 91, 98, 118, 119, 225n16. See also Nansō Satomi hakkenden
Kyomutō jitsudenki: Kishūshū (A truthful record of the anarchist party: Wailing spirits; Miyazaki Muryū), 240n67
“Kyūshi” (A miserable death; Kunikida Doppo), 248n13
landscape, natural (keshiki), 180, 181, 189–91; harmonizing method in, 198; vs. human affairs (jinji), 189–90, 197, 204; in Kusamakura, 202–3, 207; and mood (kibun), 201
Liberal Party (Jiyūtō), 122, 165, 240n71; and political fiction, 141, 142, 143, 144, 236n30; and political violence, 140, 239n62
licentious books (insho), 209; and Bakin, 58, 61, 62–66, 85; Chinese, 7, 41–48, 61, 62–66; didacticism in, 30, 43, 46, 47; Genji as, 28; licentiousness vs. chastity in, 30–31; ninjōbon as, 29–30, 48–57; readers of, 151; Shōyō on, 135–36
licentiousness, 2–5; and animals, 67–72, 73, 75–80; Bakin on, 30–31, 80–81; vs. chastity, 15, 21, 30–31, 61, 211; in Chinese fiction, 8, 43, 84–85; vs. didacticism, 58, 59–61, 84, 85, 119; and Imotose kagami, 165, 166; male, 10, 22, 57; in Meiji oligarchy, 244n43; and new concept of literature, 186; of ninjō, 2, 4–5, 7, 8, 11, 12, 20–21, 24, 30, 118–19, 152, 180, 209, 211; of ninjōbon, 7, 8, 10, 11, 30–31, 51, 58, 116, 175, 211; of the novel, 3–4, 11, 15, 21, 23, 30, 92; and realism, 152, 175, 199; satires of, 182; in scholar and beauty fiction, 49; Shōyō on, 11, 18, 111, 122, 135–37, 139; and Shunsui, 2, 30–31, 53–59, 54; in yomihon, 7, 10, 15, 48. See also desire; love; passion; sexuality
literary distance, theory of (kankakuron), 195, 207
literary reform, 120–48; and ambiguity of fiction, 86, 94; and didacticism, 121, 122–23, 186, 187; and enlightenment discourse, 86, 89–119, 121, 122, 139–47, 187; and male hero, 57; and new concept of literature, 185, 187; and ninjō, 22, 91, 120, 121, 175; and ninjōbon, 91, 121, 142–43; and political fiction, 142–43; and Reform Party, 23, 122–23, 147; and Shōyō, 10–11, 23, 92, 120–48, 171–72, 180, 216n33; and Western literature, 121, 126–27
literature (bungaku): ambiguity in, 42–43, 47, 94, 129, 164; as concept, 180, 185–91; Confucianism on, 39, 44, 185, 238n53; and humanities, 187; mass-produced popular, 4, 6, 20–21, 48, 49, 58, 184, 216n29; and modernity, 16–18; new concept of, 24, 120, 180–82, 184, 187–90, 196, 206–8, 210–11; ninjō in, 3, 8, 11, 17, 20, 21, 22, 30, 41, 44, 50, 56, 58, 127–28, 129, 131, 132; pure (junbungaku), 187; Sōseki on, 181–82, 195–201, 202, 206–8. See also fiction; history; poetry
literature, English (Eibungaku): and Bakin, 124, 126, 128, 131; contradictions in, 93, 101–3, 110, 113, 114, 128–29, 152, 175, 183, 247n8; and harmonizing method, 198; and historical fiction, 121, 126; ninjō in, 127–28, 129, 131, 132; Shōyō on, 123–32, 134, 214n15; Sōseki on, 181, 203; and Tōsei shosei katagi, 154–56, 162; and yomihon, 126–29, 131, 132. See also particular authors and titles
literature, Western, 101, 163, 184, 210; didacticism in, 138, 146, 174; emotions and customs in, 127, 146, 150; fever for (Seiyō bungaku netsu), 124; and literary reform, 121, 126–27; love in, 14, 91, 108; and modernity, 14, 134–35; and ninjō, 3, 10, 93; and ninjōbon, 10, 23, 93, 94; and the novel, 23, 90, 92; passion in, 15, 90; and politics, 141, 249n27; Shōyō on, 8, 29, 123–32, 134, 214n15; and Tōsei shosei katagi, 154–56; translations of, 10, 22, 23, 92–94, 113, 127–32, 145, 221n52, 230n15, 236n29, 240n66. See also Kaikan hifun: Gaisei shiden; Ōshū kiji: Karyū shunwa; Seitō yodan: Shun’ōten; Shunpū jōwa
Little Lord Fauntleroy (Burnett), 248n21
Liu, Lydia, 92
Liuyingzhuan, 63
Lotus Sutra (Hokekyō), 69, 70, 75, 83, 217n2
love (koi; ai; ren’ai; aijō): civilizational stages of, 154, 228n3; civilized, 109, 118, 119, 121, 123, 132, 147, 154, 163, 165; vs. desire, 45, 90; egalitarian, 103, 104–5, 165; enlightenment discourse on, 109, 112, 118, 119, 121, 123, 132, 154, 163, 165; and evolution of gender relations, 89–90; high-class (kami no koi), 131, 154; ideal (aidiaru no renjō), 156–60; and literary reform, 121, 123; low-class (shimo no koi), 154; male-male, 14, 15, 49, 97, 216nn27–28, 221n41, 243n29; middle-class (chū no koi), 154; and new concept of literature, 180, 184, 185–88; new Western terms for, 108; and ninjō, 37, 41, 45, 51, 90; and Sōseki, 192, 206; spiritual, 90, 91, 94, 96, 136; in waka, 37, 51, 190; in Western literature, 14, 91, 108, 131, 150. See also desire; licentiousness; passion; sexuality
love stories (jōshi), 99–100, 135–36, 150, 151
Lu Ji, 219n23
Maihime (The Dancing Girl; Mori Ōgai), 183, 247n8
male subject: ambition of, 102, 110, 111, 117, 131, 155, 157, 168, 183, 204, 206; conflicts of, 10–11, 40, 91–93, 101, 183; in English literature, 129, 131, 132; ideal, 23, 119, 159; in Imotose kagami, 152, 162, 166–67, 168; licentiousness of, 10, 22, 57; morality of, 44, 49, 57, 60, 105–6, 108–9, 111, 113, 118, 119; in political fiction, 142–43, 148; political participation of, 110–11, 112, 113, 147; in Seiro nikki, 114, 117–18; sexuality of, 43, 56, 57, 98
Mao Zonggang, 82
marriage: in bildungsroman, 102, 103, 156, 158, 159–60, 161, 234n73; and cult of qing, 41–42; English, 111–12, 131; enlightenment discourse on, 112–13, 168–69, 182; and freedom, 102, 117, 163, 172, 234n78; free (jiyū kekkon) vs. forced (kanshō kekkon), 114–16, 163; in Hakkenden, 65, 234n72; in Imotose kagami, 152, 162–69; in Karyū shunwa, 112–13; monogamous, 10, 55, 93–96, 98, 112, 143, 154; and new concept of literature, 187; in political fiction, 143, 144; in scholar and beauty fiction, 44, 64; in Seiro nikki, 114, 117; sexuality in, 97–98; in Shunshoku umegoyomi, 54, 234n72; and social integration, 111–12, 113; in Tōsei shosei katagi, 154–55, 156, 159, 160
Maruyama Masao, 16–17
Maruyama Shigeru, 52
Masaoka Shiki, 180, 189–91, 251n52
Masterpieces in English Literature (Sprague), 123
May Fourth period, 19
Meian (Light and Darkness; Natsume Sōseki), 208
Meiji novel, 1–24, 58, 61; early, 89–119; late, 179–208; ninjō in, 3, 91–94, 100, 118–19, 179–91, 197, 207. See also Edo-Meiji transition
Meiji Restoration (1868), 95
Meirokusha (Meiji Six Society), 95, 105
Meiroku zasshi (Meiji Six journal), 95, 96, 97, 98, 112, 116
Meredith, George, 193–94, 195, 206
Mikami Sanji, 187
Ming dynasty (China), 5, 8, 41
Minken engi: Jōkai haran (A tale of people’s rights: Stormy waves in a sea of passion), 143, 165–66
“Miraiki ni ruisuru shōsetsu” (On novels written as future records; Tsubouchi Shōyō), 170
Miyake Kaho, 182
Miyazaki Muryū, 141, 240nn66–67
Mizuno Minoru, 66
modernity: capitalist, 20, 101; early, 44–45; literary, 20, 120, 134–35, 154, 183, 209–12; nineteenth-century, 12–21, 24; and ninjō, 20, 209–12; and private vs. public spheres, 16–18, 19; and sexuality, 14–16
Mon (The Gate; Natsume Sōseki), 208
mono no aware (pathos of things), 38, 51–52, 127, 220n39
Moretti, Franco, 101
Mori Ōgai, 98, 173, 174, 183, 246n66, 247n7
Morikawa, Takemitsu, 215n22
Morishima Chūryō, 48
Motoori Norinaga, 35, 45, 51–52, 54, 220n39; on Genji, 37–38, 40, 127
Nagai Kafū, 188–89
Nagao Uzan, 204–5
Naichi zakkyo: Mirai no yume (Mixed residence with foreigners: A dream of the future; unfinished; Tsubouchi Shōyō), 153, 169–71, 173; advertisement for, 169, 170
Nakamura Masanao, 96
Naniwa miyage (Souvenirs of Naniwa; Hozumi Ikan), 39
nanshoku (male-male love), 14, 15, 49, 97, 216nn27–28, 221n41, 243n29
Nansō Satomi hakkenden (Eight dog chronicle of the Nansō Satomi clan; Kyokutei Bakin), 9, 47, 57, 59–86, 236n20; animals in, 62, 67–80, 82, 84; Buddhism in, 62, 67, 69–71, 73, 75, 83; didacticism in, 7, 60–64, 66, 67, 69, 77, 80, 83, 84, 141, 174, 239n56; and English literature, 124, 126, 128, 131, 159, 174; epilogue of, 83; ethical ambiguity in, 22, 61–62, 66–72, 80, 84; and Genji, 74–75, 84; ninjō in, 66–72, 84; and Seiro nikki, 118, 119, 235n87; Shōyō on, 86, 121, 122, 135, 139; tiger allegory in, 63–64, 72, 73, 75–80, 82–84, 85; and Water Margin, 63–64, 75, 76, 85
Narushima Ryūhoku, 99–100, 108, 127–28, 232n36
National Diet, 140, 143, 147, 161, 165, 166, 170, 184
nativist (kokugaku) writings, 17, 35, 37, 52
Natsume Sōseki, 23–24, 179–208, 209; on idealism, 199, 202, 207, 208; on literary distance, 2, 191, 195; on literature, 181–82, 195–201, 202, 206–8; on ninjō, 11–12, 13, 179–80, 195–201; on the novel, 181, 184, 207–8; and poetry, 24, 197–98, 199, 206; on poetry, 190; on realism, 181, 196, 199; and romanticism, 181, 199, 200–202, 203, 207–8; on shaseibun, 2, 24, 179, 190, 197; shaseibun by, 250n45
naturalism (shizenshugi), 11, 188–90, 197, 210, 252n74
neo-Confucianism, 54; vs. cult of qing, 41, 42; on emotion and desire, 33–35, 71, 97; and Genji, 38, 40; and Jinpingmei, 43–44; on literature, 33–36; and ninjō, 35
newspapers: on gender relations, 95, 98; on the novel, 90, 140, 142; serialized novels in, 113, 184, 248n14; small (koshinbun), 236n30. See also Yomiuri shinbun
Nietzsche, F. W., 188
Nihon seiji shisōshi kenkyū (Studies in the history of Japanese political thought; Maruyama Masao), 16
Ninin bikuni: Iro zange (Two nuns: A love confession; Ozaki Kōyō), 183, 248n11
ninjō (jō; renqing; human emotion; love and desire), 1–24; ambiguity of, 4, 8, 39–40, 57; vs. Chinese cult of qing, 21, 41–48; Chinese definitions of, 12; control of, 10–11, 13–14, 19, 22, 23, 32–33, 93, 94, 97, 98, 108–13, 116, 136, 144; evolution of (ninjō no shinka), 170; vs. giri (duty), 39–40, 65, 167–68; as modern psychology, 238n50; and new literature concept, 24, 120, 180, 182, 184, 185–91; in the West, 99–100. See also desire; licentiousness; love; passion; sexuality
ninjōbon (books of human emotion), 2–10, 27–58, 209; and Bakin, 61, 62–66; chastity in, 15, 30–31, 50, 64; and Chinese fiction, 21, 48, 85; definition of ninjō in, 51–52; didacticism in, 58, 60, 175; discourse on, 21, 48–57, 54; and enlightenment discourse, 97; and gender relations, 16, 89; and Imotose kagami, 150, 151, 162, 165, 168; and Karyū shunwa, 92, 93, 100–101, 104, 106, 108, 109, 113, 119; language of, 50–51, 55–56, 244n33; licentiousness of, 7, 8, 10, 11, 29–31, 48–57, 58, 116, 175, 211; and literary reform, 91, 121, 142–43; and naturalist criticism, 189; and the novel, 7–9, 50, 58, 214n15; and political fiction, 148; Sakazaki Shiran on, 142–43, 148; and scholar and beauty fiction, 49–51, 58; and Seiro nikki, 116, 117; Shōyō on, 122, 135–39; and Shunsui, 7, 15, 16, 21, 40, 49–50, 65, 98, 214n11; and spiritual love, 90, 91; and Tōsei shosei katagi, 153–54, 157, 160, 242n9; and translations of Western literature, 10, 23, 93, 94, 127, 132; and women, 54, 55, 90–91; vs. yomihon, 22, 51, 59–60, 61, 65
Nise Murasaki inaka Genji (A Country Genji by a Commoner Murasaki; Ryūtei Tanehiko), 9
Nishi Amane, 95
Nishi no umi chishio no saarashi (Small storms of blood in the western sea; Sakurada Momoe), 240n66
Niwa Jun’ichirō, 92, 100, 101, 230n13. See also Oda Jun’ichirō
novel, the (shōsetsu; xiaoshuo), 5–12, 239n54; ambiguity in, 4, 8–9, 15, 22, 28–29, 42, 43, 47, 49, 56–58, 61–62, 152; as art (bijutsu), 120, 133; didactic (jidakuchikku noberu), 133–39; didacticism of, 4, 10, 41, 133–39, 180, 211; and early modern fiction, 213n4; and emotions and customs (ninjō setai), 23–24, 37, 40–41, 51, 133, 182–83; female authors of, 248n21; ideal (aidiaru; gokubi), 60, 161–62, 171–73, 224n3; idealist (risō), 66; I-novel (shishōsetsu), 253n2; legitimacy of, 4, 20, 24, 28, 60, 118–19, 175, 179; licentiousness of, 3–4, 11, 15, 21, 23, 30, 92; mass production of, 4, 6, 20–21, 48, 49, 58, 184, 216n29; Meiji readers of, 98–99; military romance, 45; in native script (kokuji no haishi), 7, 60; and ninjō, 5, 8, 10, 11, 17, 39, 212; and ninjōbon, 7, 48, 50, 58; parliamentarian, 143; political (seiji shōsetsu), 112, 122–23, 141, 146, 171, 236nn29–30, 241n84, 245n49; realist (mosha), 120, 133–39, 158, 180, 199, 210, 253n2; sentimentality in, 182–84; social (sōsharu), 161–62, 172–73; Sōseki on, 181, 184, 192, 196, 207–8; true (makoto no), 1, 91, 122, 131–33, 136, 139, 145, 146, 150, 151, 158, 159, 214n15; twentieth-century development of, 24, 209–12; vernacular (zokugo), 21, 30, 46, 47; Western, 23, 90, 92, 93, 94; and yomihon, 5–7, 59, 94, 214n15, 239n61. See also artistic novel; fiction; literary reform; Meiji novel; particular authors and titles
Ōba Osamu, 45
Oda Jun’ichirō, 149. See also Niwa Jun’ichirō
Ogyū Sorai, 17, 35, 36, 44–45, 54, 219n24
Omoide no ki (Record of remembrance; Tokutomi Roka), 239n63
“One Means to Propagate the Seeds of Freedom in Our Country Is to Reform the Novel and Theater,” 140
“On the Ideal Novel” (Aidiaru noberu no koto ni tsukite; Tsubouchi Shōyō), 171
Ōshio Heihachirō, 227n47
Ōshū kiji: Karyū shunwa (A strange story from Europe: Spring tale of flowers and willows; trans. Ernest Maltravers and Alice; Niwa Jun’ichirō), 10, 22–23, 92–119; advertisement for, 98, 100–101, 106; afterword to, 100; as bildungsroman, 93, 101–3, 108, 113; foreword to, 99–100, 127; gender relations in, 103–8; and Imotose kagami, 149, 165, 166, 168; and literary reform, 121, 124, 127; and ninjōbon, 92, 93, 100–101, 104, 106, 108, 109, 113, 119; passion in, 22, 103–13, 136; as political fiction, 143, 145, 148; publication format of, 231n32; readers of, 94–101; and Seiro nikki, 113–18; and Shōyō’s translations of English literature, 128, 129, 132; and Tōsei shosei katagi, 156, 159; and yomihon, 92, 93, 109, 111, 112, 113
Ōuchi Seiran, 133
Ozu Keisō, 65
Pamela (Richardson), 216n29
passion (jō; jōyoku): in bildungsroman, 93, 103, 119, 129, 152, 183; control of, 10–11, 22, 23, 93, 94, 98, 108–13, 116, 144; in English literature, 128–29; foolish (chi, chijō), 89, 91, 100, 113, 116, 119, 129, 131, 135–36, 148–50, 154, 158–60; and freedom, 93, 94, 114, 129; Japanese translation of, 103–8, 238n51; in Karyū shunwa, 22, 103–13, 136; vs. reason, 110, 121, 138, 152; in Seiro nikki, 114, 116; Shōyō on, 18, 86, 91–92, 122, 135–39, 148, 152; and Tōsei shosei katagi, 154, 158, 159–60; Western concept of, 15, 90, 106, 233n54. See also desire; licentiousness; love; sexuality
passion, vulgar (retsujō): and Imotose kagami, 151, 165, 167; male struggle against, 91–92; ninjō as, 1–2, 11, 15, 18, 23, 86; Shōyō on, 18, 86, 91–92, 122, 135, 136, 137, 148, 152
Peony Pavilion (Mudanting; play; Tang Xianzu), 42
People’s Rights Movement (Jiyū Minken Undō), 22, 139–40, 252n79; and political fiction, 112, 122, 141, 169; and Tōkoku, 186; and violence, 147, 161; and Western literature, 129, 141, 235n14
Pflugfelder, Gregory, 14
photography, 134
Ping, Shan, Leng, and Yan (Pingshanlengyan), 46, 63, 64
Plum in the Golden Vase. See Jinpingmei; Shinpen Kinpeibai
poet, the (shijin), 186–87, 188, 200, 249n27
poetry: ambiguity in, 33, 35; classical vs. vernacular, 36; and desire, 30, 34, 47; didacticism in, 30, 31–32, 35–36, 38, 41; and emotional distance, 191, 192–95; English, 192, 199, 206, 251n53; eremitic, 203; haikai, 45–46, 47; martial, 205; nature in, 190, 196; neo-Confucianism on, 33; ninjō in, 3, 11, 17, 21, 35, 190; politics in, 203–6; and private subjectivity, 17; Sinitic (kanshi), 30, 38, 41, 181, 185, 190, 192, 195, 196, 199, 201–8, 220n29, 251n53; and Sōseki, 24, 190, 197–98, 199, 206; waka (classical Japanese), 31, 37, 38, 45, 46, 47, 51, 190, 193, 196, 199, 217n1, 251n53. See also haiku; Shijing
politics: and Confucianism, 204; democratic, 17, 22, 93, 102, 109, 112, 122, 140, 142, 143, 147, 161, 165, 166, 170, 236n29; and didacticism, 140–47, 148; and literary reform, 140–47; and new literature concept, 186; and ninjō, 139–47; parliamentarian, 95, 112, 143; participation in, 110–11, 112, 113, 142, 144, 147; in poetry, 203–6; and Seiro nikki, 114, 117; and violence, 140, 145–47, 161, 239n62, 243n29; and Western literature, 131, 141, 249n27. See also Constitutional Reform Party; fiction, political; Liberal Party; National Diet; People’s Rights Movement; utopia, political
private vs. public spheres, 16–18, 43, 216n29
prostitution, 95, 104, 108, 153–54, 164, 166–68, 214n12, 230n20, 243n17
psychology, Western, 18, 216n33, 238n50
publishing, commercial, 42, 100, 101, 225n7; of gesaku, 6, 8, 9, 48, 50, 55, 85, 230n15; for mass audience, 4, 6, 20–21, 48, 49, 58, 184, 216n29; and movable type, 231n32, 234n76, 237n42
qing (emotion), 218n15, 219n23; Chinese cult of, 21, 41–48
Qing dynasty (China), 5, 8, 41
Qingshi leilüe (History of emotion in encyclopedic categories; Feng Menglong), 98, 231n29
readers: of English literature, 124–26, 149–52, 174, 233n54; and Imotose kagami, 151, 166; of Jinpingmei, 98, 150; of Karyū shunwa, 94–101, 119; and literary reform, 124; Meiji, 94, 98–99, 100, 101; of novels, 94, 98–99, 151–52, 184, 238n53; and politics, 140, 142; and Seiro nikki, 118; Shōyō on, 138, 139; tears of, 13, 179–80, 184; women as, 37, 53, 55, 65, 81; of zōkakiron genre, 97–98
realism (mosha; shajitsu): aporia between idealism and, 23, 137, 139, 141, 142, 148, 149–75, 180, 190, 238n47, 242n13, 247n7; bourgeois psychological, 216n33; civilized, 148, 152; and didacticism, 122, 137–39, 142–47, 157, 166, 239n56, 240n70; and emotions and customs, 139, 141, 142, 148, 154, 157–58; and enlightenment discourse, 148, 152, 153; and Kusamakura, 207, 208; and licentiousness, 152, 175, 199; and literary reform, 121, 216n33; method of (shjitsuhō), 196; mosha as unrelated to, 238nn42–43, 238n50; and ninjō, 11, 18, 120, 212; in the novel, 3, 133–39, 180, 210; and political fiction, 141, 142, 146, 186; psychological, 182; vs. romanticism, 195–201; and shaseibun, 189–90; Shōyō on, 18, 120, 122, 132–39, 149–75, 210–11, 237nn40–42; Sōseki on, 180, 181, 199; universal, 174–75
“Record of Music” (Yueji), 32–33, 34
Record of Rites (Liji), 12, 218n13
“Reed-Choked House” (Asaji ga yado; Ueda Akinari), 49
Revolution of the Heart (Haiyan Lee), 19
“Rhetoric and Belles Lettres” (Chambers), 134
Richardson, Samuel, 171, 198, 216n29
Rienzi (Bulwer-Lytton), 127, 242n13; and Tōsei shosei katagi, 154–56, 159; translation of, 129–32, 145, 236n29
risshin shusse (advancement through hard study and work), 22, 93, 110–11, 117, 156
romance (rōmansu), 14, 158, 162, 243n25; military, 45
Romance of the Three Kingdoms (Sanguozhi yanyi), 5, 43, 59
romanticism (romanshugi), 187, 195–203, 207, 208, 249n32; and mood (kibun), 200–201; vs. realism, 195–201
Rondon shōsoku (Letters from London; Natsume Sōseki), 250n45
Rosenwein, Barbara, 12
Rousseau, Jean-Jacques, 102, 105
Ryūkyō shinshi (New Chronicles of Yanagibashi; Narushima Ryūhoku), 232n36
“Sadder than is the moon’s lost light” (poem; Meredith), 193–94
Saikun (The wife; Tsubouchi Shōyō), 172–73
“Saishōron” (“On Wives and Concubines”; Mori Arinori), 95
Sakazaki Shiran, 142, 143, 147, 148
Salacious History of Emperor Yang (Yangdi yanshi), 46
samurai class, former (shizoku), 128, 129, 130, 140, 205, 242n10
Sanpū hiu: Seiro nikki (Winds of adversity and rains of sadness: Diary of getting on in the world; Kikutei Kōsui), 22, 94, 113–18, 143, 156, 159, 175
Sansantei Arindo, 236n30
San’yūtei Enchō, 118
satire (fūshi), 48, 52, 98, 165, 171–72, 182, 185–86
scholar and beauty fiction (caizi jiaren xiaoshuo; saishi kajin shōsetsu), 43–51, 221n52, 222n54; and Bakin, 22, 45, 61, 63–66, 85, 225n16, 226n20; chastity in, 7, 15, 43–44, 47, 49, 61; and cult of qing, 21, 45; didacticism in, 30, 46, 47; and Karyū shunwa, 112, 233n61; and Meiji readers, 98, 100; and ninjōbon, 49–51, 58; Shōyō on contemporary, 171
scholar and beauty paradigm, 49–51, 54, 61
Scott, Walter, 23, 113, 121, 124–28, 162, 171, 236n16, 243n25. See also Bride of Lammermoor, The
Seiji shōsetsu: Setchūbai (A political novel: Plum blossoms in the snow; Suehiro Tetchō), 144–45, 147, 148, 166, 170, 245n51
Seiro nikki. See Sanpū hiu: Seiro nikki
Seitō yodan: Shun’ōten (A political digression: Orioles warbling in spring; trans. Coningsby; Seki Naohiko), 132, 145, 230n15, 236n29, 241n84
sentimentalism, 182, 184, 215n20
sexology, 97–98
sexuality: male-male, 14, 15, 49, 97, 216nn27–28, 221n41, 243n29; of male subject, 43, 56, 57, 98; male vs. female in ninjōbon, 56–57; in marriage, 97–98; and naturalism, 188, 189, 210–11; and ninjō, 12, 13, 44. See also desire; licentiousness; love; passion
Shakespeare, William, 123, 153, 173–75, 236n16
sharebon (books of wit; courtesan fiction), 50–52, 54, 55
shaseibun (sketch prose), 189–95; authors of, 199–200, 250n45; emotional distance in, 191–95; and Kusamakura, 191–95, 206, 207, 208; Masaoka Shiki on, 189–91, 251n52; nature in, 180, 189, 190, 191, 192; and ninjō, 2, 11, 189; and realism, 189–90; Sōseki on, 2, 24, 179–81, 184, 190, 197
“Shaseibun” (On sketch prose; Natsume Sōseki), 179, 184, 190, 197, 199
Shaving of Shagpat, The: An Arabian Entertainment (Meredith), 193, 251n55
Shijing (Classic of Poetry), 30–34, 38–41, 52, 82, 219n24; desire in, 34, 47; didacticism in, 31–32, 41; and Genji, 36, 38; “Great Preface” (Daxu) to, 31–32, 33, 34, 218nn9–12, 219n23; and Mao school of exegesis, 31–32, 40; and ninjōbon, 57, 58
Shikitei Sanba, 214n14
Shimazaki, Satoko, 217n37
Shimazaki Tōson, 249n32
Shincho hyakushu (One hundred new works) series (Yoshioka Shosekiten), 183, 248n11, 248n19
Shinjū ten no Amijima (jōruri play; Love Suicides at Amijima; Chikamatsu Monzaemon), 39–40
Shinmigaki: Imotose kagami (Newly polished: Mirror of marriage; Tsubouchi Shōyō), 111, 149–52, 162–69, 172; eavesdropping in, 167, 244n45; on novel as morphine, 1, 29, 86, 150, 151, 166
Shinpen Kinpeibai (The Plum in the Golden Vase newly edited; Kyokutei Bakin), 45, 225n8
Shōsetsu: Gaimu daijin (A novel: Minister of foreign affairs; unfinished; Tsubouchi Shōyō), 245n57
Shōsetsu shinzui (The Essence of the Novel; Tsubouchi Shōyō), 118, 132–39; and Bakin, 6, 9, 10, 23, 133, 135–39, 141–42, 148; and Imotose kagami, 150, 151, 166, 167; and literary reform, 10–11, 120–48; and Mirai no yume, 170; on ninjō, 1–2, 91, 97, 100, 133, 136–37; and political fiction, 141–47, 236n29; preface to, 132; on realism, 18, 132–39, 152, 210–11; and Tōsei shosei katagi, 154, 156, 157, 158, 159; and Western literature, 8, 125, 127
Shuihu houzhuan (The Water Margin continued), 226n20
Shungyō Hachimangane (The Hachiman Shrine bell at spring dawn; Tamenaga Shunsui), 51
“Shunjitsu seiza” (Sitting Quietly on a Spring Day poem; Natsume Sōseki), 252n73
Shun’ōten. See Seitō yodan: Shun’ōten
Shunpū jōwa (Spring breeze love tale; trans. Bride of Lammermoor; unfinished; Tsubouchi Shōyō), 113, 127–28, 131
Shunshoku (Spring colors) series (Tamenaga Shunsui), 50, 51
Shunshoku tatsumi no sono (Spring: color southeast garden; Tamenaga Shunsui), 54, 56
Shunshoku umegoyomi (Spring-Color Plum Calendar; Tamenaga Shunsui), 21, 50–57, 65; and Karyū shunwa, 100, 106; licentiousness vs. chastity in, 7, 30–31, 51, 54, 55, 57, 91, 168; and literary reform, 121
Shunsui. See Tamenaga Shunsui
Sinitic, literary, 97, 98, 100, 109, 116, 118, 127, 220n29, 222n55. See also Chinese vernacular language; Japanese literary style; poetry
social class: and education, 232n41; and egalitarian love, 103, 104–5; in English literature, 128; and freedom, 116, 165; in Karyū shunwa, 110, 111; and politics, 142, 144, 146, 147; in Tōsei shosei katagi, 158
socialism, 141
social order: and control of passion, 108–13; and cult of qing, 42; vs. freedom, 93, 101; and Genji, 40–41; in Hakkenden, 62; and marriage, 111–12, 113; and ninjō, 1–5, 8, 13, 17, 18–19, 20, 23, 209; and poetry, 36; in political fiction, 141; in Western novels, 93
“Song of Everlasting Sorrow” (Changhenge; Bai Juyi), 197–98
Sorai school (Ogyū Sorai), 38
Sorekara (And Then; Natsume Sōseki), 208
Sorrows of Young Werther, The (Goethe), 216n29
“Sōsakuka no taido” (The attitude of the literary writer; Natsume Sōseki), 181, 199–200, 206
Sprague, Homer, 123
Spring-Color Plum Calendar. See Shunshoku umegoyomi
Stepnyak, Sergey, 240n67
Stowe, Harriet Beecher, 146
Structural Transformation of the Public Sphere (Strukturwandel der Öffentlichkeit; Habermas), 16
structures of feeling, 19–20, 42, 216n34
Sudermann, Hermann, 188
Sudō Nansui, 171
Suehiro Tetchō, 144, 147, 148, 166, 170
Suzuki, Tomi, 238n47
Taiheiki (The Chronicle of Great Peace), 75
Takata Sanae, 124, 125, 126, 139, 161–62
Takatsu Kuwasaburō, 187
Tale of Genji (Genji monogatari; Murasaki Shikibu), 8, 9, 21, 36–41, 47; and Confucianism, 29, 36, 37, 38, 40; and didacticism, 28–29, 37, 38, 41, 46, 75; “Fireflies” (Hotaru) chapter of, 27–29, 35, 242n4; and gender relations, 89; and Hakkenden, 74–75, 84; and new concept of literature, 188; and ninjō, 30, 37, 52; and ninjōbon, 57; Norinaga on, 37–38, 40, 127; and Shijing, 36, 38
Tales of Ise (Ise monogatari), 46, 47
Talisman, The (Scott), 124
Tamenaga Shunsui, 7–9; and Bakin, 64, 65, 66; censorship of, 55, 224n88; criticism of, 54–55, 91, 92; didacticism of, 7, 52, 53, 54, 55, 57; and Imotose kagami, 150, 151, 162, 168; language of, 55–56; on licentiousness vs. chastity, 2, 30–31, 53–59, 119; male protagonists of, 57, 143; and Meiji readers, 100, 101; and ninjō, 13, 51, 53, 54; and ninjōbon, 7, 15, 16, 21, 40, 49–50, 65, 98, 214n11; and scholar and beauty paradigm, 49–50; Shōyō on, 122, 132, 135; and Tōsei shosei katagi, 157. See also Harutsugedori; Shungyō Hachimangane; Shunshoku (Spring colors) series
Tanaka Shōhei, 125
Tang dynasty (China), 44
Tang Xianzu, 42
Tayama Katai, 189, 211, 249n32
Tēbe meishi: Keikoku bidan (Heroes of Thebes: Beautiful tales of statesmanship; Yano Ryūkei), 230n15, 234n84, 236n29
Teisai Nensan, 130
Tenpō Reforms (1842–1844), 55, 90
Terakado Seiken, 54–55
Thackeray, William Makepeace, 126
theater, 36, 52, 140, 226n25; and Bakin, 225n16; bakumatsu, 217n37; and cult of qing, 42; jōruri puppet plays, 3, 39–40, 46, 47, 225n16; kabuki, 39, 217n37; and ninjōbon, 50; sewamono (contemporary life) plays, 215n22; Shōyō on, 173–75
Tōkaidōchū hizakurige (Travels on the Eastern Seaboard; Jippensha Ikku), 9
Tokuda Takeshi, 77
Tokugawa Ienari, 77
Tōkyō Haishi Shuppansha (publisher), 118
Tōkyō shinshi (journal; New Tokyo chronicles), 98
Tonomura Jōsai, 71
Tōsei shosei katagi. See Ichidoku santan: Tōsei shosei katagi
Toyama Masakazu, 238n51
translations: and genbun itchi, 247n5; and literary reform, 121, 126–32; by Shōyō, 126–32; and translingual practice, 92–93; of Western literature, 10, 22, 23, 92–94, 113, 127–32, 145, 221n52, 230n15, 236n29, 240n66. See also Kaikan hifun: Gaisei shiden; Ōshū kiji: Karyū shunwa; Seitō yodan: Shun’ōten; Shunpū jōwa
Tsubouchi Shōyō, 1–2, 209–11; and Bakin, 6, 23, 60–61, 92, 118, 122, 125, 132, 135–37, 139, 148, 171; on Confucianism, 122, 135, 138; on didacticism, 11, 23, 122, 135, 137–39, 171, 238n52; on emotions and customs, 23–24, 120, 170, 172, 180, 182–83; and enlightenment discourse, 18, 19, 137, 161; on gesaku, 10, 126, 132; on Hakkenden, 57, 86, 121, 122, 135, 139; on licentiousness, 11, 18, 111, 122, 135–37, 139; literary reform of, 10–11, 23, 92, 120–48, 171–72, 180, 216n33; and new concept of literature, 185–89; and ninjō, 11, 12, 13, 122, 135, 136, 148; on ninjōbon, 122, 135–39; on novel as morphine, 1, 29, 86, 150, 151, 166; on passion, 18, 86, 91–92, 122, 135–39, 148, 152; on political fiction, 141–47; and private subjectivity, 17–18; on realism, 18, 120, 122, 132–39, 149–75, 210–11, 237nn40–42; and Reform Party, 18, 140, 161, 165; on Shakespeare, 173–75; on Western literature, 8, 29, 123–32, 134, 173–75, 214n15. See also Fūkai: Kyō waranbe; Ichidoku santan: Tōsei shosei katagi; Kaikan hifun: Gaisei shiden; Naichi zakkyo: Mirai no yume; Saikun; Shinmigaki: Imotose kagami; Shōsetsu shinzui; Shunpū jōwa
Tsuga Teishō, 48
Ueda Akinari, 48
Ueda, Atsuko, 141
Ugetsu monogatari (Tales of Moonlight and Rain; Ueda Akinari), 49
Ukigumo (Floating clouds; Futabatei Shimei), 172, 182
Umebori Kokuga, 50
Uncle Tom’s Cabin (Stowe), 146
Underground Russia (Stepnyak), 240n67
Uno Meika, 45
Utagawa Kuninao, 223n80
utopia, political, 153; in Hakkenden, 60–61, 65–67, 72, 73, 80–84; in Mirai no yume, 169–71
vernacular (vulgar; zoku) literature, 3, 5, 6, 8, 21, 36, 38, 39, 41, 46, 47, 244n33
vital energy (qi; ki), 34, 71, 84, 116
Vita sexualis (Vita Sexualis; Mori Ōgai), 98
Wagahai wa neko de aru (I Am a Cat; Natsume Sōseki), 179, 190
Wakamatsu Shizuko, 248n21
Walley, Glynne, 60, 62, 83, 216n27
“Wasureenu hitobito” (“Those Unforgettable People”; Kunikida Doppo), 189
Water Margin (Shuihuzhuan), 5, 43, 46–48, 59, 226n20; and Bakin, 47, 63, 66, 225n6; and Hakkenden, 63–64, 75, 76, 85
Waverley Novels (Scott), 124, 125
Wen, King (Chinese sage-king), 32, 36
Western imperialism, 90, 94–95, 169–70, 184
Western literature fever (Seiyō bungaku netsu), 124. See also literature, Western
Wilhelm Meisters Lehrjahre (Wilhelm Meister’s Apprenticeship; Goethe), 103
Williams, Raymond, 19
women: and bakumatsu theater, 217n37; education of, 89, 95–96, 98, 105, 109–10, 114, 147, 163, 172, 186; equality of, 89, 90, 108, 229n3, 231n21; in Ernest Maltravers, 101–3; in husband-wife relationship, 41–42; and new concept of literature, 186; and ninjō, 39–40; and ninjōbon, 50, 65, 90–91; as novel writers, 248n21; as readers, 37, 53, 55, 65, 81; Shunsui on, 52–57. See also gender relations; marriage; prostitution; scholar and beauty fiction
Xunzi, 218n14
Yabu no uguisu (Warbler in the Grove; Miyake Kaho), 182
Yamada Shunji, 134
Yanagawa Shigenobu, 223n67
Yang Guifei, 251n62
Yano Ryūkei, 230n15, 234n84, 236n29
yomihon (books for reading), 3–9, 209, 211; as adaptations, 5, 48–49; and Bakin, 5–9, 16, 49, 50, 53, 58, 59, 61, 91, 98, 118, 119, 225n7, 225n16; chastity vs. licentiousness in, 7, 10, 15, 48; and Chinese fiction, 5, 21, 41, 48, 62–66, 84–85; and Imotose kagami, 163, 168; and Karyū shunwa, 10, 92, 93, 109, 111, 112, 113; language of, 56, 98; and literary reform, 91, 121; and ninjō, 20, 49; vs. ninjōbon, 22, 51, 59–60, 61, 65; and the novel, 5–6, 8–9, 59, 94, 214n15, 239n61; and political fiction, 141, 146; Shōyō on, 23, 122, 135–39; and Tōsei shosei katagi, 153–54, 158, 159, 160, 242n10; and Western literature, 10, 23, 94, 126–29, 131, 132
Yomiuri shinbun (Yomiuri newspaper), 98, 100, 106, 170, 184
Yu, Jiao, and Li (Yujiaoli), 46
“Zenryō naru haha o tsukuru setsu” (“Creating Good Mothers”; Nakamura Masanao), 96
Zhang Zhupo, 241n1
Zhu Xi, 33–34
Zōkakiron (Discourse on procreation), 97
zōkakiron genre, 97–98
Zuozhuan commentary, 82
Zwicker, Jonathan, 45