Reference No: KLL-FO-ACAD-000 | Effectivity Date: August 3, 2020 | Revisions No.

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LESSON 2
Japanese Literature

Introduction

Japanese literature, the body of written works

produced by Japanese authors in Japanese or, in its
earliest beginnings, at a time when Japan had no written
language, in the Chinese classical language. From the
early seventh century until the present there has never
been a period when literature was not being produced
by Japanese authors. Japan adopted its writing system
from China when writing was introduced to Japan from
China in the 5th century via Korea.
Japanese literature often use Chinese characters to
represent Japanese words with similar phonetic sounds.
Early works were heavily influenced by cultural contact with China and Chinese literature, and was often
written in Classical Chinese. Though the Japanese writing system was adapted from Chinese, the two
languages are unrelated. The rich emotional vocabulary of the Japanese language gave rise to a refined
sensitivity of expression, while Chinese was often used to write about more intellectual and abstract
concepts such as morality and justice.

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Japanese literature has both quantity and quality. It ranks as one of the major literatures of the world,
comparable in age, richness, and volume to English literature, though its course of development has been
quite dissimilar. The surviving works comprise a literary tradition extending from the 7th century CE to the
present; during all this time there was never a “dark age” devoid of literary production. Not only do poetry,
the novel, and the drama have long histories in Japan, but some literary genres not so highly esteemed in
other countries—including diaries, travel accounts, and books of random thoughts—are also prominent.

Japanese literature is typically divided into four periods:

Ancient Literature (until 794)

The earliest Japanese literary works date to the 8th century and mostly deal with Japanese legends and
myths. The finest example is Kojiki which his thought to be written by O no Yasumaro in the early 8th
century. Other notable works during the ancient period include Nihon Shoki (720) which has been shown
to be partly based on real historical events and Man’yoshu (759) which is the oldest example of Japanese
poetry.

Classical Literature (794-1185)

During the Heian period that followed the Nara period (ancient period), the Japanese literature reached its
golden age. A Japanese noblewoman and lady-in-waiting Murasaki Shikibu wrote the Tale of Genji (Genji
Monogatari, early 11th century) which is considered the world’s first novel, while the 10th century folk-tale
Taketori Monogatari is considered one of the first examples of proto-science fiction. Other notable works
and authors from the classical period include Kokin Wakashu (c. 905), Makura no Soshi by Sei Shonagon
and Konjaku Monogatarishu.

Medieval Literature (1185-1603)

Medieval Japanese literature was greatly influenced by civil wars and the emergence of the warrior class,
resulting in the rise of war tales. Among the finest examples of are the Tale of the Heike (Heike
Monogatari, late 12th century) which deals with the struggle between the two powerful Japanese clans,
Hojoki (1212) by Kamo no Chomei and Tsurezuregusa (c.1330-1332) by Yoshida Kenko.
Besides war tales, the medieval period also saw the rise of the so-called renga ( a genre of Japanese linked-
verse poetry in which two or more poets supplied alternating sections of a poem. The renga form began as
the composition of a single tanka (a traditional five-line poem) by two people and was a popular pastime
from ancient times, even in remote rural areas) which is one of the most prominent literary arts in Japan
before the modern period.

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Modern Literature (1603-)
Modern Japanese literature is typically further divided into early modern and modern literature. The first
period corresponds to the Edo period, while the second starts with the Meiji period (1868-1912) when
Japan opened to the West and entered the period of industrialization.
The early modern Japanese literature saw the rise of the many new
genres including kabuki or Japanese dance-drama, haiku
(hokku) poetry and yomihon, a type of Japanese books which,
unlike others in the Edo period such as kusazoshi, put little
emphasis on illustration. Notable authors from the early modern
period include Ihara Saikaku, Jippensha Ikku, Tokaidochu
Hizakurige, Ueda Akinari and Santo Kyoden.

Modern Japanese literature was marked by the emergence of new styles including romanticism that was
introduced by Mori Ogai in the late 19th century and reached its height in the early 20th century. Pre-war
Japan saw the rise of proletarian literary works, while war-time Japan produced some of the finest literary
works in modern period.
The Second World War has greatly influenced post-war
Japanese literature but soon, Japanese authors also started
to deal with the problems of the modern society. Just like the
Western authors, the contemporary Japanese authors cover
just about all genres and subjects. But despite the influence
of globalization, Japanese literature has managed to retain
its distinct style as well as remained a breeding ground for
new literary forms. One of the best examples are the manga
comic books which have also achieved a major success on
the international book market.
Some of the most prominent modern Japanese authors
include: Toson Shimazaki, Kafu Nagai, Takiji Kobayashi, Denji Kuroshima, Yasunari Kawabata,
Osamu Dazai, Nobuo Kojima, Kobi Abe and Haruki Murakami to mention only a few.

Characteristics of Japanese Literature

Japanese literature can be difficult to read and understand, because in many ways the written Japanese
reflects certain peculiarities of the spoken language. Statements are often ambiguous, omitting as
unnecessary the particles of speech which would normally identify words as the subject or object of a
sentence, or using colloquial verb forms from a specific region or social class. Special language used to
depict gender, age, social status, or regional origins is often the only clue as to who is speaking or being
spoken about in a sentence. In many cases the significance of a simple sentence can only be understood
by someone who is familiar with the cultural or historical background of the work.

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Japan’s deliberate isolation during the seventeenth and eighteenth centuries created a strong cultural
homogeneity, and the literature of that period incorporated many common understandings that are
unintelligible to someone who does not share the same background. For example, Japanese readers of the
seventeenth century immediately understood the phrase,“some smoke rose noisily” (kemuri tachisawagite),
as a reference to Great Fire of 1682 that ravaged Edo (the modern city of Tokyo).
Japanese literature tends to be emotional and subjective, rather than intellectual, and consequently appeals
strongly to modern readers all over the world, who can relate to sentiments and feelings which transcend
historical changes and cultural differences. Japanese writers who wanted to express more intellectual or
abstract meanings wrote in Chinese, or borrowed from the Chinese language.
As early as the tenth century, patronage of literature and poetry by the court and the aristocracy gave rise
to literary criticism and artistic “codes,” developed by the writers and poets themselves, which dictated the
style and form of poetic composition. These codes restricted the types of sentence structures which were
acceptable, and generally prohibited the use of words with humble meanings or foreign origins until the
sixteenth century, when less formal haikai no renga (俳諧の連歌, “playful linked verse”) became popular.
Japanese writers emphasized refinement of sentiment and elegant phrasing over the expression of
intellectual concepts.
The nature of the Japanese language influenced the development of poetic forms. All Japanese words end
in one of five simple vowels, making it difficult to construct effective rhymes. Japanese words also lack a
stress accent, so that poetry was distinguished from prose mainly by being divided into lines of specific
numbers of syllables rather than by cadence and rhythm. These characteristics made longer poetic forms
difficult, and most Japanese poems are short, their poetic quality coming from rich allusions and multiple
meanings evoked by each word used in the composition.
Japanese prose often contains very long sentences which follow the train of the author’s thought. Japanese
writers concentrated more on making a smooth transition from one thought to the next than on linking each
statement to an overall structure or meaning. Personal diaries and accounts of travel from place to place
developed as a means of linking unrelated elements together in a chronological succession.

Japan. The people and its culture

Japanese culture is multifaceted and very distinctive, having evolved rapidly in the past century. The
advancements of technology, the government’s adoption of democratic rights and the country’s population
boom have introduced new lifestyles to its people. These modern developments can often seem inconsistent
with the traditional virtues of Japanese culture. For example, while Japanese culture classically emphasizes
a patient, gentle and harmonious way of life, today it is normal for people to be packed into Tokyo trains
like sardines and work long hours with little rest. Nevertheless, many traditional values of Japan still underpin
the culture.

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For instance, harmony remains a guiding philosophy in Japan that affects many features of society –
especially that of family and business. Working in harmony is viewed as the crucial element for productivity;
thus, the Japanese have a predisposition to be indirect, gentle and courteous even if they disagree with
what you are saying. This ethos of cooperation is impressed upon Japanese children at young ages. The
educational systems stress interdependence over independence. Such sensitivity to respecting one’s
relationships in the community manifests into many of the behavioural attitudes foreigners observe of the
Japanese (such as their emphasis on politeness and teamwork). It is rare for Japanese people to disagree
openly or voice any opinion that could create friction. However, shyness is starting to be considered less of
a virtue and more of a limitation to some of the younger generation.

The importance of harmony in Japan also means that emphasis is put on modest and gentle interpersonal
relations. As such, the concept of face has remained very central to Japanese communication. Face is the
quality embedded in most Asian cultures that indicates a person's reputation, influence, dignity and honour.
By complimenting people, showing them respect or doing something to increase their self-esteem, you give
them face. Similarly, people can lose face and save or build face. Therefore, individuals in Japan usually
act deliberately and with restraint to protect their self-worth and peer perception. Conservative conduct is
the norm, as people don’t want to stand out and/or risk losing face by doing something inappropriate. For
many Japanese, the fear of letting down family or society dominates almost everything else. However, for
the younger generation, a person’s social media profile has now become a significant way of
maintaining face and gaining status in one’s social hierarchy. As a result, some Japanese are becoming
less concerned with the importance of their behaviour during interactions in person.

Japanese culture is also very collectivist. Individuals often perceive themselves to be members of 'groups'
rather than autonomous actors. These groups reflect or come to define who its members are and often
implicitly demand a high degree of loyalty. In return, an individual gains a sense of belonging, protection
and unity. It is important to note that over 98% of Japan shares the same Japanese ethnicity, making it one
of the most homogeneous societies in the world. There tends to be an automatic and unique sense of
group belonging to the nation itself. Sharing a common heritage, history, culture and identity, people in
Japan broadly anticipate their perceptions to be consistent with the other Japanese people around them.

The Language

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 The Japanese language itself also influences people’s perception
of situations and one another. The language is very formal and
observant. It diverges into different styles of speech for people
depending on their status. For example, natural speech changes
to be more respectful when people speak to someone older than
them. This distinguishes distinct hierarchies in society as
deference and adherence to societal roles is naturally implied
through the language.

Japanese culture puts heavy emphasis on participation, diligence and performance in people’s
professional lives. The workforce is extremely dedicated and there is much pressure to strive for excellence
and perfection. This has led to a disturbing trend in Japanese society; many Japanese (men, in particular)
work to the point of utter exhaustion or even sometimes death. Japanese youth can feel a sense of
trepidation as they grow up, foreseeing the day they too will have to join the workforce. They are conscious
that it will likely involve giving up many of the luxuries they enjoy as minors. Japan is extremely productive
and technologically advanced, yet it is one of the most sleep-deprived countries in the developed world.

As a reminder, this general summary does not necessarily apply to all Japanese people. Japan
accommodates many different microcultures that contribute different characteristics to both rural and urban
society. A diversity of lifestyles are also emerging as people reevaluate their goals and values in the modern
age. However, modesty, honour and ultra-politeness are generally valued by most. The Japanese are
largely private, patient and thoughtful people.

Religion
Statistics show that 66.8% of Japanese people are Buddhist, 1.5% are Christian and 7.1% belong to
another religion. However, an overwhelming number of Japanese people (79.2%) also believe in Shintoism,
often in conjunction with another religion (such as Buddhism).

Almost all Japanese observe customs that have origins in Buddhism or Shintoism, yet many may define
themselves as atheists. This is common as the religious traditions of Shintoism, in particular, have started
to be considered as more ‘cultural’ than ‘spiritual’.

Shinto in Japan

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Shinto is the indigenous religion of Japan. It has no founder or sacred scripture but has been rooted in
Japanese belief and traditions since the origins of Japan. Its philosophy is grounded in the value of man’s
relationship to nature. The main belief of Shinto is that the world is full of spirits, ‘kami’, that symbolize
certain concepts of life or the physical world (e.g. wind, water, fertility). When treated properly, these kami
intervene in people’s lives to bring benefits.Many Japanese people worship at shrines of specific kami or
locations where kami are thought to reside, to be supported throughout their life. It is an optimistic faith that
believes humans are inherently good and all evil is the manifestation or effect of evil spirits. Shinto also
emphasizes the reverence of ancestors, ritual purity and respect for the beauty of the natural world.
Not all Japanese believe in the mythology and philosophy of Shinto. However, most people in Japan
participate in its practices as part of social tradition. In some ways, Shinto can be regarded as an aspect of
culture (instead of a religion) by some Japanese. It isn’t monotheistic and can coexist with other religions,
such as Buddhism, fluidly.

Buddhism in Japan
Buddhism is a philosophy built around the belief that people can reach a state of enlightenment in which
they obtain the love, wisdom and clarity to see reality clearly and exist in it purely. Many teachings are based
on a set of truths about reality known as “The Four Noble Truths”. These are the following: firstly, that
there is suffering; secondly, that suffering has a cause; that suffering has an end; and finally, that there
is a path to the end of suffering (The Eightfold Path). To be a Buddhist is to follow a path towards
leading a moral life. One also seeks to develop wisdom and understanding and be mindful of one’s thoughts
and actions. This is achieved by practising methods such as meditation to gradually overcome negative
mindsets. Buddhism views human life as a continual repetitive cycle of birth and death as a being moves
towards enlightenment.

Lady Sei Shonagun

Sei Shōnagon, (born c. 966, Japan—died c. 1025, Japan), diarist,
poet, and courtier whose witty, learned Pillow Book (Makura no
sōshi) exhibits a brilliant and original Japanese prose style and is a
masterpiece of classical Japanese literature. It is also the best
source of information on Japanese court life in the Heian
period (794–1185).
Sei Shōnagon was the daughter of the poet Kiyohara Motosuke and
was in the service of the empress Teishi (Sadako) at the capital of
Heian-kyō (Kyōto) from about 993 to 1000. Little is known about her
life outside of her time at court. Her Pillow Book consists in part of
vividly recounted memoirs of her impressions and observations
within which she listed and classified the people, events, and objects
around her. The work is notable for Sei Shōnagon’s sensitive

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descriptions of nature and everyday life and for its mingling of appreciative sentiments and the detached,
sometimes caustic, value judgments typical of a sophisticated woman at court.
Sei Shōnagon’s ready wit and intelligence secured her place in Teishi’s court. Those qualities also won her
enemies, according to the diary of her contemporary Murasaki Shikibu, who herself declared Sei Shōnagon
conceited. Though capable of great tenderness, Sei Shōnagon was often merciless in the display of her wit,
and she showed little sympathy for those unfortunates whose ignorance or poverty rendered them ridiculous
in her eyes. Her ability to catch allusions or to compose in an instant a verse exactly suited to each occasion
is evident throughout her Pillow Book. Legend states that Sei Shōnagon spent her old age in misery and
loneliness, though that is likely an invention.

Pillow Book (Makura no sōshi)

Japanese Makura no sōshi, (c. 1000), title of a book of reminiscences and impressions by the 11th-
century Japanese court lady Sei Shōnagon. Whether the title was generic and whether Sei Shōnagon
herself used it is not known, but other diaries of the Heian period (794–1185) indicate that such journals
may have been kept by both men and women in their sleeping quarters—hence the name. The entries
in Makura no sōshi, although some are dated, are not in chronological order but rather are divided under
such headings as “Amusing Things” and “Vexatious Things.” A complete English translation
of Makura no sōshi by Ivan Morris appeared in 1967 (The Pillow Book of Sei Shōnagon). The Pillow
Book belongs to the genre of zuihitsu (“random jottings”). Tsurezuregusa, by Yoshida Kenkō, is an
outstanding 14th-century example of this genre.

THE CAT WHO LIVED IN THE PALACE

(See attachment provided in this module)

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 Kikuchi Kan
Kikuchi Kan, also called Kikuchi Hiroshi, (born Dec. 26,
1888, Takamatsu, Japan—died March 6, 1948, Tokyo),
playwright, novelist, and founder of one of the major publishing
companies in Japan. He wrote much of his best work in the
short period between 1917 and 1920. Kikuchi’s writing shows
little speculative thought; he was more concerned with the
direct exposition of a particular moralistic theme, expressed in
a realistic and clear style. Another story, “Tadanaokyo gyōjō ki”
(1918; “On the Conduct of Lord Tadanao”), attracted great
attention. His other well-known works are the plays Chichi
kaeru (1917; The Father Returns) and Okujo no
kyojin (1916; The Madman on the Roof) and the novel Shinju
Fujin (1920; “Madame Pearl”).
In 1923 Kikuchi established Bungei shunju, a popular literary
magazine that gave rise to a large publishing company.
Through the magazine he set up two of the most prestigious
literary awards given to new Japanese writers, the Akutagawa
and Naoki prizes.

THE MADMAN ON THE ROOF (Okujo no kyojin)

(See attachment provided in this module)

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 Matsuo Basho
The 17th-century Japanese haiku master Basho was born Matsuo Kinsaku
near Kyoto, Japan, to a minor samurai and his wife. Soon after the poet’s
birth, Japan closed its borders, beginning a seclusion that allowed its native
culture to flourish. It is believed that Basho’s siblings became farmers, while
Basho, at Ueno Castle in the service of the local lord’s son, grew interested
in literature. After the young lord’s early death, Basho left the castle and
moved to Kyoto, where he studied with Kigin, a distinguished local poet.
During these early years Basho studied Chinese poetry and Taoism, and
soon began writing haikai no renga, a form of linked verses composed in
collaboration.

The opening verse of a renga, known as hokku, is structured as three

unrhymed lines of five, seven, and five syllables. In Basho’s time, poets were beginning to take the hokku’s
form as a template for composing small standalone poems engaging natural imagery, a form that eventually
became known as haiku. Basho was a master of the form. He published his haiku under several names,
including Tosei, or “Green Peach,” out of respect for the Chinese poet Li Po, whose name translates to
“White Plum.” Basho’s haiku were published in numerous anthologies, and he edited Kai Oi, or Seashell
Game (1672), and Minashiguri, or Shriveled Chestnuts (1683), anthologies that also included a selection of
his own work

HAIKU

1. The Narrow Road to Deep North

Japanese

草の戸も 住替る代ぞ ひなの家

Kusa no to mo/ Sumikawaru yo zo/ Hina no ie

English
A owner of the old thatched hut
Is also changed to another
It’s the Doll’s Festival.

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2. A Ball Of Snow

you make the fire

and I’ll show you something wonderful:
a big ball of snow!

3. A Bee

A bee
staggers out
of the peony.

Translated by Robert Hass

4. A Caterpillar
A caterpillar,
this deep in fall--
still not a butterfly.

Translated by Robert Hass

A cicada shell;
it sang itself

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5. utterly away. A Cicada Shell

Translated by R.H. Blyth

https://www.britannica.com/art/Japanese-
literature#:~:text=Japanese%20literature%2C%20the%20body%20of,in%20the%20Chinese%20classical%20language.
https://www.easternbooks.co.uk/japanese-literature.html
https://culturalatlas.sbs.com.au/japanese-culture/japanese-culture-religion#japanese-culture-religion
https://www.britannica.com/biography/Sei-Shonagon
https://lhsblogs.typepad.com/files/pillow-book-and-zen-parables.pdf
https://www.britannica.com/biography/Kikuchi-Kan
https://www.poemhunter.com/i/ebooks/pdf/matsuo_basho_2004_9.pdf

Prepared by:

ARRIANE R. OLGADO
Instructor I

Checked by:

MARIA THERESA S. RAÑA, LPT RUEL M. MASANGCAY, MAED

Department Module Editing Committee

Approved by:

BIBIANA JOCELYN D. CUASAY, Ph.D.

Module Editing Chair

AQUILINO D. ARELLANO, Ph.D., Ed.D.

Vice President for Academic Affairs and Research

Noted by:

MARIO CARMELO A. PESA, CPA

College Administrator

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