Page 48 - Edo: Art in Japan, 1615–1868

25 This role was played yearly 42 Nishiyama 1997,153,166,167. 52 "In the Way of the Sages, 60 See remarks by Yamaji Kózó
by generations of actors when evil thoughts arise in in Kyoto burakushi kenkyüjo-
called Ichikawa Danjüró, who 43 Nishiyama Matsunosuke, one's heart but one observes hen, éd., Kinsei no minshu to
became identified with the "Kinsei no yùgei-ron," in Kinsei the ritual prescriptions with- geinô (Kyoto, 1989), 226-228.
character (Nishiyama 1997, geidô-ron, NST 61 (Tokyo, 1972), out cultivating those thoughts
49, 214-219). 616-618. and committing any evil, one 61 Nishiyama 1997, 229-230.
is [still] a gentleman." Dazai
26 Kaiho Seiryó, Keikodan, in 44 Nishiyama 1997,148,150. Shundai, Bendôsho, in Nihon 62 Nishiyama 1997, 237, 240. For
Honda Toshiaki, Kaiho Seiryó, rinri ihen 6 (Tokyo, 1902), 220. the establishment of rakugo
NST 44 (Tokyo, 1970), 232-233. 45 Both quotations can be found yose, see Heinz Morioka and
in Kurozumi Makoto, "The 53 Mencius 6A 7:8. Miyoko Sasaki, Rakugo: The
27 In 1775 a samurai enumerated Nature of Early Tokugawa Popular Narrative Art in Japan
seventy-four leisure activities Confucianism," Journal o/Jap- 54 Ogyü i973b; 541; see also Ogyü (Cambridge, Mass., 1990),
in which one might indulge anese Studies 20, no. 2 (1994), 1994, 57- 240-249.
(Nishiyama 1997, 48). 369. Kurozumi comments:
"For these scholars, the ques- 55 Motoori Norinaga zenshû, vol. 9 63 Some of this analysis was 47
28 McEwan 1962, 50-52. tion whether form is natural (Tokyo, 1968), 125, italics inspired by Henri Bergson's
or man-made, innate or added. philosophical considerations
29 "If the root [read "agriculture"] acquired, is beside the point. in his le rire: Essai sur la
is slighted, and the branch 'Form' is a condensed modal- 56 One could say that Norinaga signification du comique (Paris,
[read "commerce"] is favored, ity of being, generated by both leveled a critique auant la lettre 1969 [1899]), 20, 39, 94, 97.
the province will decline, and nature and man, a locus where of late nineteenth-century
the resulting mob of mer- these two generative forces European theories of animism 64 Kôshi jima toki ni aizome, in
chants will become the bane converge." For a treatment of but was somehow in line with Kibyôshi, sharebon-shû, in
of the province Even lords, form and Japanese culture Saussurian semiology. Nihon koten bungaku taikei
with all their power, are no from different angles, see 59 (Tokyo, 1958), 180 (trans-
match for merchants" (Sorai Minamoto Ryôen, éd., Kata to 57 Timón Screech writes about a lated as "In Due Course for
1994, 65, 68). Nihon bunka (Tokyo, 1992). vogue of "collection and study Confucius and Indigo Pat-
of exotic flora, fauna or min- terns" in Susan Griswold,
30 Kaiho 1970, 222. See also 46 Sankin kotai: Kyodai toshi Edo no erals. .. the amassing of speci- "Urban Fiction as Social Text:
Tsunoda Ryusaku et al., naritachi [exh. cat.,Tokyo-Edo mens became a craze in Japan" The World of Kibyôshi in
comps. Sources of Japanese Museum] (Tokyo, 1997), 67. (The Western Scientific Gaze and Eighteenth-Century Edo"
Tradition, vol. i (New York, This exhibition catalogue Popular Imagery in Later Edo [Ph.D. dissertation, Univer-
1958), 491-492. gives plenty of information on Japan: The Lens luithin the Heart sity of Chicago, 1988]).
all aspects of the alternate [Cambridge, 1996], 137,141,
31 Kaiho 1970, 241, italics added. attendance system; for data 144-145). Hiraga Gennai 65 Nishiyama 1972, 612-614.
on expenditures, see 100,101, "organised annual colloquia
32 Kaiho 1970, 222. 104,131; andTsukahira 1970, for natural-history enthusi- 66 Kate Wildman Nakai, "The
chap. 4. asts ... called pharmacopaeic Naturalization of Confucian-
33 Nishiyama 1997,15. assemblies (yakuhin-e)," and ism in Tokugawa Japan: The
47 "Sono jitsu shogun wa mat- published Varieties of Matter Problem of Sinocentrism,"
34 Susan B. Hanley, Everyday taku oide ni naru no yara, (Butsurui hinshitsu) in 1763. The Harvard Journal of Asiatic
Things in Premodern Japan: The naranai no yara, wakarya See also (Shukan) Asahi hyakka Studies 40, no. i (1980), 176.
Hidden Legacy of Material Cul- shimasen no sa" (Watanabe Nihon no Rekishi 82 (Tokyo,
ture (Berkeley, 1997), 28-29. 1986,154,143). 1987). 67 See Yamamoto Naotomo's
remark in "Kinsei hisabe-
35 Hanley 1997,46-47- 48 Sorai 1994, 58. 58 Andrew L. Markus, "The Car- tsumin-shi e no shiten;
nival of Edo: Misemono Spec- zadankai," in Kyoto burakushi
36 Koizumi Kazuko, Traditional 49 Sorai 19733, 307, 308. tacles from Contemporary kenkyüjo (Kyoto, 1989), 230.
Japanese Furniture (Tokyo, Accounts," Harvard Journal of
1986), 172,173, quoted in 50 Zeami, On the Art of the No Asiatic Studies 45, no. 2 (1985), 68 Calvin L. French, Shiba Kokan:
Hanley 1997,48. Drama: The Major Treatises of 499-541- Artist, Innovator, and Pioneer
Zeami, trans. J. Thomas Rimer in the Westernization of Japan
37 Hanley 1997, 44. and Yamazaki Masakazu 59 Nishiyama 1997, 241-244. (New York, 1974), 29.
(Princeton, 1984), 66-68,71-72,
38 Hanley 1997,44-45. 77. See also SagaraTôru, 69 Patricia Fister, Japanese Women
"Kata no keisei o kangaeru," Artists: 1600-1900 (Lawrence,
39 Nishiyama 1997, chap. 8. in Kyóritsu Joshi Daigaku, Kans., 1988), chaps. 6, 7.
Bungaku geijutsu 12 (Feb. 1989),
40 Nishiyama 1997,152. 9-i8.

41 Nishiyama 1997,150. 51 Ogyü Sorai, Benmei, NST 36
(Tokyo, i973b), 70, 71,178.