A history of the Japanese people

by F. Brinkley; Dairoku Kikuchi

This Heian literature "reflects the pleasure-loving and effeminate, but cultured and refined, character of the class of Japanese who produced it. It has no serious masculine qualities and may be described in one word as belles-lettres—poetry, fiction, diaries, and essays of a desultory kind. The lower classes of the people had no share in the literary activity of the time. Culture had not as yet penetrated beyond a very narrow circle. Both writers and readers belonged exclusively to the official caste. It is remarkable that a very large and important part of the best literature which Japan has produced was written by women. A good share of the Nara poetry is of feminine authorship, and, in the Heian period, women took a still more conspicuous part in maintaining the honour of the native literature. The two greatest works which have come down from Heian time are both by women.* This was no doubt partly due to the absorption of the masculine intellect in Chinese studies. But there was a still more effective cause. The position of women in ancient Japan was very different from what it afterwards became when Chinese ideals were in the ascendant. The Japanese of this early period did not share the feeling common to most Eastern countries that women should be kept in subjection and as far as possible in seclusion. Though the morality which the Heian literature reveals is anything but strait-laced, the language is uniformly refined and decent, in this respect resembling the best literature of China."**

*The Genji Monogatari by Murasaki Shikibu, and the Makura Soshi by
Sei Shonagon.

**Japanese Literature, by W. G. Aston.

With the Heian epoch is connected the wide use of the phonetic script known as kana, which may be described as a syllabary of forty-seven symbols formed from abbreviated Chinese ideographs. There are two varieties of the kana—the kata-kana and the hiragana* The former is said to have been devised by Makibi, the latter by Kobo Daishi (Kukai), but doubts have been cast on the accuracy of that record, and nothing can be certainly affirmed except that both were known before the close of the ninth century, though they do not seem to have been largely used until the Heian epoch, and even then almost entirely by women.

*Katakana means "side kana" because its symbols are fragments (sides) of Chinese forms of whole ideographs.

ENGRAVING: MURASAKI SHIKIBU (COURT LADY AND POETESS)

"Much of the poetry of this time was the outcome of poetical tournaments at which themes were proposed to the competitors by judges who examined each phrase and word with the minutest critical care before pronouncing their verdict. As might be expected, the poetry produced in those circumstances is of a more or less artificial type, and is wanting in the spontaneous vigour of the earlier essays of the Japanese muse. Conceits, acrostics, and untranslatable word-plays hold much too prominent a place, but for perfection of form the poems of this time are unrivalled. It is no doubt to this quality that the great popularity of the Kokin-shu is due. Sei Shonagon, writing in the early years of the eleventh century, sums up a young lady's education as consisting of writing, music, and the twenty volumes of the Kokin-shu."*

*Japanese Literature, by W. G. Aston.

The first notable specimen of prose in Japanese style (wabun) was the preface to the Kokin-shu, written by Ki no Tsurayuki, who contended, and his own composition proved, that the introduction of Chinese words might well be dispensed with in writing Japanese. But what may be called the classical form of Japanese prose was fixed by the Taketori Monogatari,* an anonymous work which appeared at the beginning of the Engi era (901),** and was quickly followed by others. Still, the honour in which the ideograph was held never diminished. When Tsurayuki composed the Tosa Nikki (Tosa Diary), he gave it out as the work of a woman, so reluctant was he to identify himself with a book written in the kana syllabary; and the Emperor Saga, Kobo Daishi, and Tachibana Hayanari will be remembered forever in Japan as the "Three Calligraphists" (Sampitsu).

*The expression "monogatari" finds its nearest English equivalent in "narrative."