Characteristics
By the time the ''ukiyo-zōshi'' genre first appeared, the commercial publishing industry had been fully developed. ''Ukiyo-zōshi'' books were published at a fixed size and length, and it was around this time that literature first began to be published for profit. For these reasons, prose literature, including ''ukiyo-zōshi'', tended to be of low quality. Nevertheless, many ''ukiyo-zōshi'' works, particularly those of Saikaku, feature sophisticated literary techniques, structures, and insight into the lives and personalities of the characters. ''Ukiyo-zōshi'' literature was considered popular literature and was written in the kana-based vernacular language. In contrast, elite literature, such as ''Initial Authors and Saikaku's Contemporaries
Nishimura Ishiroemon
Nishimura Ishiroemon was a Kyoto book publisher and one of the most prominent authors in the genres preceding ''ukiyo-zōshi''. Over twenty novels were written and published by Ishiroemon in the 1680s. In his later works, he would copy the outline of Saikaku's works while keeping the storyline as traditional ''kana-zōshi''. Main works include: ''Hana no nagori'' (A Remembrance of Blossoms, 1684), a known copy of ''Uramino-suke'', a novel by Saikaku; and ''Koshoku sandai'' ''otoko'' (The Love Rogue in the Third Generation, 1686), his novel acting as a sequel to Saikaku's two books with similar titles.Ishikawa Ryusen (Tomonobu)
Under the pen name Tomonobu, Ishikawa Ryusen was the “first important novelist of Edo” and credited with writing the first ''ukiyo-zōshi'' according to Richard Lane. Ryusen gained notoriety as a famed ''ukiyo-e'' painter from the renowned Moronobu School. His most notable works are ''Koshoku Edo murasaki'' (A Love-Tale of the Purple of Edo, 1686), written in Ryusen's unique style and encompassing themes of samurai vengeance,Shogetsudo Fukaku
Considered the “most important Edo novelist of the early period,” to Richard Lane, Fukaku started as a ''Authors Following Saikaku
Nishizawa Ippu
Nishizawa Ippu writings appeared in the Kyoto-Osaka area after Saikaku's death. He wrote a total of twenty novels between 1698-1718 and quickly rose to popularity as he filled the void in literature which Saikaku left. Main works include: ''Shinshiki gokansho'' (New Tales of Love, in Five Parts, 1698), which mimicked Saikaku's novel, ''Five Women in Love'', as it consisted of five novelettes which centered around tragic love stories; and ''Gozen Gikeiki'' (A New Gikeiki for His Lordship, 1700), which was a fictional parody of fourteenth century life of a man named Yoshitsune and his search for his mother and sister, both of which were courtesans.Hojo Dansui
Saikaku's only pupil, Hojo Dansui started his career as a ''haikai'' poet, like Saikaku, and edited and published Saikaku's works after his death. His most notable work was ''Nihon shin-eitaigura'' (Japan's New Treasury for the Ages, 1713). This fictional novel takes place in Osaka and acts as a sequel to Saikaku's work while focusing on didacticism.Lesser Writers
Aoki Rosui
Originally from Kyoto, Aoki Rosui started as a ''haikai'' poet, but expanded his writing skills and focused on telling supernatural tales. His most notable work is ''Otogi hyaku monogatari'' (One Hundred Ghost Tales for Children), which is written in the ''kana-zōshi'' tradition.Nishiki Bunryu
A joruri dramatist from Osaka, Nishiki Bunryu wrote novels from 1699 to 1706. His most notable work was ''Karanashi daimon yashiki'' (The Flower-Seal on the Mansion Gate, 1705), which consists of multiple stories of townsmen, similar to some of Saikaku's works. The novel focuses on millionaire Yodoya Tatsugoro from Osaka, who lost all of his property to the government and now wanders the streets in anger.Miyako no Nishiki
Miyako no Nishiki's real name was Shishido Yoichi and he lived from 1675 to 1710. Born a samurai, Nishiki was trained in the Chinese and Japanese classics, but became disowned due to dissipation. From 1700 to 1703, he lived in Kyoto where he became a novel-writer, subsequently writing eight novels. His most quoted work is ''Genroku taiheiki'' (The Epic of Genroku, 1702), which is a collection of critiques against various groups of people. Another notable work is ''Okitsu shiranami'' (Thieves in the Offing, 1702), a collection of famous tales of robbers of past and present. In order to continue earning riches, he traveled to Edo. Unfortunately, he was mistaken as a ronin, arrested, and consequently banished to Satsuma province. He was later pardoned but the banishment left his career in shambles.Ejima Kiseki
Born in 1667, Ejima Kiseki did most of the actual writing for the original books published in the Hachimonjiya bookshop. However, all of his works were taken by and labeled as Hacimonjiya Jisho's for many years. This deeply upset Kiseki and led him to spend almost the entirety of his inheritance in the gay pleasure quarters of Kyoto. At the age of thirty-two, Kiseki turned to novel writing to make a living and earn back the money he had lost in the gay quarters. In 1711, Kiseki started his own publishing shop and broke off from Hachimonjiya because of the continued robbery of proper writing credit by Jisho and in an attempt to make more money. Unfortunately for Kiseki, his business failed, forcing him to return to Jisho in 1718. In a turn of events, Jisho agreed to credit Kiseki as a co-author on future works which encouraged Kiseki to stay at Hachimonjiya. Influenced by Saikaku and the gay quarters, Kiseki focused on writing and created a new form of the ''ukiyo-zōshi''. However, this new style was inherently influenced by Kiseki's own shallow and flawed nature, making his new works pale in comparison to the detail of Saikaku. Despite its superficial roots, Kiseki's new style was able to capture as much interest as Saikaku's works because of its clever plotting even though it lacked style and depth. Kiseki would also often plagiarize Saikaku, but his utilization of the plagiarized pieces were so skillful that it was difficult to distinguish them in his work. Enjima Kiseki died in 1736 and with him, his new style of ''ukiyo-zōshi''. By the mid-eighteenth century, Edo had become the center of literary activity, and while ''ukiyo-zōshi'' continued to be produced until around the 1770s, the genre became stagnant after Kiseki's death and slowly declined. Notable Works Include: * ''Keisei iro-jamisen'' (The Courtesan's Samisen of Love, 1701), his first novel which combined techniques of Saikaku's love novels and ''Courtesan Critiques'', a form derived from ''Actor Critiques'', set the form for his following works. The novel takes place in five different regions with one region being discussed in each of the five novels: Kyoto, Osaka, Edo, seaports, and the lesser cities of Japan. It starts with Saiken, a chart of courtesans and houses in quarters which include their ranks, price, and other related details. Each of the five books contain four to six short stories about famous courtesans in the area. The courtesan's actual names are included, but the stories they star in are entirely fiction. * ''Furyu kyoku-jamisen'' (Stylish Virtuosities on the Samisen, 1706), a story in which an elderly actor and courtesan explain their adventures together and their love story to the reader. * ''Keisei kintanki'' (Courtesans Must Keep Their Tempers, 1711), revolves around a controversial debate over which is superior: the love of a woman or the love of a young boy. The novel disrespectsHachimonjiya (“Figure Eight”) Bookshop
Located in Kyoto, Hachimonjiya was known for their publications of joruri andKiseki's Contemporaries
Notable contemporaries of Kiseki were: Ippu, Dansui, Getsujindo, Nagaido Kiyu, Jisho's son Kisho, and Jisho's grandson Zuisho. The last two most influential ''ukiyo-zōshi'' writers of this time were Tada Nanrei and= Tada Nanrei
= Tada Nanrei's most notable work is ''Kamakura shogei sode nikki'' (A Diary of Skills in Kamakura, 1743), which can be classified as a Character Book. The premise of the story is a group of= Ueda Akinari
= According to Lane, “the last important ''ukiyo-zōshi'' was written by Akinari.” An Osaka native,Illustrations
Japanese literature utilizes imagery to convey moods of the characters as well as symbols critical to the story it is portraying. Japanese illustrations are unique as they have not only grown in popularity since they were first included in novels, but have survived the printing press which had to be adapted in order to include imagery. Through Edo-period illustrations, it is possible to see the manners, attitudes, and customs of the Japanese at this time. The near perfection of woodblock printing made recreating illustrations easier and faster, thus allowing the spread of visual imagery to intensify. In ''ukiyo-zōshi'', the primary style of illustration used is that of ''ukiyo-e'', imagery of “the floating dream world.” This style itself developed from its less sophisticated predecessor, ''kanazōshi'', which depicted realism. ''Ukiyo-e'' illustrations emitted romantic and sensual emotions that were inspired by the love affairs of courtesans and their lovers in the nineteenth century. The '' ninjōbon'' school of novel-writing used ''ukiyo-e'' paintings as the basis for the love stories, and the artists and writers developed their genres together, forming one of the most iconic styles of Japanese literature and art. The peak of this utilization of ukiyo-e illustrations with ukiyo-zōshi writing is a reedition of ''The Love Rogue'' by Hishikawa Moronobu, as well as its later adaption as a picture book in 1686. ''Ukiyo-e'' illustrations in ''ukiyo-zōshi'' books were able to give the author less work in terms of describing character appearances and background details while giving the illustrator creative leeway to fill in those gaps of description through included artwork. Unlike '' kibyoshi'' books which would cram text along the outlines of the illustrations later in the eighteenth century, ''ukiyo-zōshi'' novels had designated pages for artwork and kept the text and art separate. Unlike other genres besides ''kibyoshi'', ''ukiyo-zōshi'' illustrations’ main purpose was to add visual beauty to the novel. A balance between art, writing, printing, prose, and engraving had to be struck in order to create the ''ukiyo-zōshi'', with one person filling all of those roles much of the time. Notable works that Howard Hibbett addresses as striking a precise balance are: ''Kōshoku ichidai otoko'' (The Man Who Spent His Life In Love, 1682); and ''Kōshoku ichidai onna'' (The Woman Who Spent Her Life In Love, 1686). Not only do these works of Saikaku create a balance between illustration and writing, but they also inspired many future ''ukiyo-zōshi'' works, especially ''Kōshoku ichidai otoko''. Its use of ''haikai'' poetry and allusions to the popular guidebooks of the day made this novel a hit and a major source for book pirates. These novels also created rivalries amongst competing authors as each tried to create their own visual adventure through the use of illustration. ''Ukiyo-e'' illustrations helped bring to life the descriptive nature of the ''ukiyo-zōshi'' novel.Yoshida Hambei
Yoshida Hambei was the main illustrator of Ihara Saikaku's books and was a renowned ''ukiyo-e'' artist. It is estimated that he was active between the 1660s and 1690s, during that time he produced over half of the illustrations for Saikaku's works as well as many other ''ukiyo-zōshi'' novels. He was popular in the older districts of Kyoto and Osaka and his style and art rivaled that of the renowned Moronobu School in Edo. His art reinforced descriptive details elegantly in their matching texts as well as depicted narrative progression in the plot.Following Genres and Subgenres
Epistolary novels
A new form of literature started to rise which was still ''kana-zōshi'' but had new characteristics of the life of the average modern man. This genre developed during Saikaku's rise to fame. Works include: ''Shikiyoku toshi hakke'' (The Year's Divination of Love, 1688), a collection of love letters to a hero, all of which are declined; ''Koshoku fumi denju'' (The Tradition of Love Letters, 1699), a collection of five love affairs through letters. This was heavily influenced by Saikaku's love stories and earlier romances and continued through the eighteenth century because of its popularity. Real love letters were often based on this novel.Katagimono (Character Books)
A new genre created by Kiseki. The core theme of this genre was to describe various groups of people through short stories which centered on specific themes, such as prodigal sons and poets. About fifteen people were included in each story who complimented the main theme. The creation of this genre can be attributed to Saikaku who wrote the prototype novel, ''Twenty Unfilials of Japan'', but Kiseki is credited with fully developing it. Different types of people included are: actors, scholars, grandfathers, husbands, mothers-in-law, priests, physicians, and more. Notable Works Include: * ''Seken musuko katagi'' (Types of Sons in This World, 1715), and ''Seken musume katagi'' (Types of Daughters in This World, 1717), are historical novels which was another genre of which Kiseki enjoyed writing. These books were based on kabuki and joruri dramas during Kiseki's time. They were the most popular genre of the time at Hachimonjiya. * ''Kokusenya mincho taiheki'' (The Epic of Coxinga and the Ming Dynasty, 1717). The life of adventurer Coxinga who, two years prior, had starred in the drama ''Kokusenya kassen''. * ''Keisenya gundan'' (Courtesan-Coxinga Tales, 1717). Written by either Jisho or a ghost writer, this novel is similar to Saikaku's ''Love Rogue'', about two hero's journey through the gay quarters and, according to Lane, was “one of the best novels published by Jisho.” * ''Hyakusho seisuki'' (The Rise and Fall of the Peasantry, 1713). A Hachimonjiya book with an anonymous author, this novel is sympathetic to the peasants of Japanese society, a rarity in writing at the time. Its theme centered around peasant revolts and over-taxation of the government, a common occurrence. This novel stands out amongst its peers as it was not banned by the government, however it held little interest among readers.Pornography
Because a common theme of ''ukiyo-zōshi'' was love and forbidden romance, pornography started to be produced in Edo where it flourished into a subgenre of its own. The most popular author and illustrator of pornographic novels was Torindo Chomaro, who created fourteen novels between 1695 and 1705. His most popular novel was ''Koshoku hitomoto susuki'' (A Leaf of Love's Grass, 1700), whose plot follows a samurai on a quest to seek revenge but ends up falling in love.Picture-books
Picture-books were large scale adaptations of popular ''ukiyo-zōshi'' novels, often those with beautiful or notable imagery by well-known illustrators. The most notable picture-book is ''kyasha-otoko naskae no yujo'' (Fair Gallant and Faithful Courtesan, 1685), which is based on ''joruri'' drama, Nagoya Sanzoburo, which is about a Kyoto samurai who falls in love with Kazuraki, a courtesan, and successfully avenges his father's death by killing his murderer. It is possible that both the novel and the illustrations were done by Moronobu, but no one knows for sure.See also
* Ukiyo * Ukiyo-e * kana-zōshi * Ihara SaikakuReferences
* * * * * * * {{DEFAULTSORT:Ukiyozoshi Japanese fiction Edo-period works