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which meant that
Yomihon was not written for profit, but instead as an art. Most Yomihon were not original works, but instead adapted from Chinese stories, which can be argued that Yomihon are just Chinese mythology with a Japanese styling done. Since in the Edo period Chinese culture was viewed in high regard, this made Yomihon popular among the higher classes to seem more sophisticated. In addition, to escape censorship, Yomihon was written as historical fiction to avoid using real people, while still containing commentary about the state of Japan. This often included criticisms of government, popular social practices and the social hierarchy of Edo Period Japan.
165:, and thought of himself to be rivals with Ayatari. His works focused on the vanity of human wishes, and the suffering war leaves behind. Akinari also relished in the complex nature of Yomihon, and hated the other popular genres of time, and is quoted as saying Lady Murasaki deserves to be doomed to hell for writing the
198:
Yomihon will take its ultimate form in the hands of Santo Kyoden and
Takizawa Bakin. Their stories were complex with unified plots, didactic tones, character development, supernatural elements, and seamlessly combined colloquial and Chinese elements. Bakin himself wrote more than 30 Yomihon borrowing
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Yomihon as a genre was marked by its use of text heavy format, that often-left little room for illustrations. It was written in a Kanji-laden style, that frequently borrowed from
Chinese elements. This meant that only the most educated readers of the Edo period would be able to read most Yomihon,
203:, considered to be the pinnacle of Yomihon. Bakin was the student of Kyoden, and in many places, considered his spiritual successor. As Kyoden’s health began to decline, Bakin’s work grew in popularity and readily took its place.
230:. In it, the themes of karmic retribution, revenge plotlines, reinforcement of good and chastising of evil and adaptation of Chinese literature all find their place to create a cohesive and wildly successful Yomihon.
218:, which Bakin highly praised. It was also criticized for relying too heavily on Kyoden’s Kibyoshi writing skills but praised by critics on his writing skill and adaptation, but not on the content. His next work was
226:, which was important for its use of Buddhist moral themes and karmic retribution. As Kyoden’s student, those themes made its way into Bakin’s works and created what can be considered one the best Yomihon written,
177:
Middle
Yomihon developed further on the progress made before it, with authors like Itan Ohie’en publishing multiple collections based on Chinese tales. Tsuga Teisho published a historical fiction called
157:
The precursors to the Edo-style
Yomihon writing are often considered to be Ueda Akinari and Takebe Ayatari. Ayatari is considered to be the father of Edo-style Yomihon, with his first book
276:
Zolbrod, Leon (1966). "Yomihon: The
Appearance of the Historical Novel in Late Eighteenth Century and Early Nineteenth Century Japan".
161:, which was cast in a historical setting, setting the trend of historical fiction writing. At around the same time, Akinari published
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were translated and published in Japan. The mutual influence of
Chinese novel styles, Japanese traditional war chronicles
222:, which is a revenge story, which was becoming popular in Japan at the time it was written. His next popular work was
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489:"Yomihon: The Appearance of the Historical Novel in Late Eighteenth Century and Early Nineteenth Century Japan"
319:
Washburn, Dennis (1990). "Ghostwriters and
Literary Haunts. Subordinating Ethics to Art in Ugetsu Monogatari".
607:
55:
are often preached, and characters with supernatural powers and imaginary creatures are often depicted.
51:, they had few illustrations, and the emphasis was on the text. In storylines, Buddhist ethics such as
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much from his precursors, while also having his own originality. He wrote famous
Yomihon like
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354:
Zolbrod, Leon M. (1966). "Takizawa Bakin, 1767-1848. A Restoration that Failed".
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86:. Takebe Ayatari, and Okajima Kanzan were also instrumental in developing the
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From the end of the 16th century to the 18th century, Chinese novels such as
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431:"From Yomihon to GĂ´kan: Repetition and Difference in Late Edo Book Culture"
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47:(1603–1867). Unlike other Japanese books of the periods, such as
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wrote the extremely popular fantasy/historical romance
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based on social incidents promoted the stylization of
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Devitt, Jane (1979). "SantĹŤ KyĹŤden and The
Yomihon".
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78:and, in 1749, Tsuga TeishĹŤ published
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555:Harvard Journal of Asiatic Studies
391:Harvard Journal of Asiatic Studies
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429:Reichert, James R. (May 2017).
551:"SantĹŤ KyĹŤden and The Yomihon"
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278:Journal of East Asian Studies
493:The Journal of Asian Studies
435:The Journal of Asian Studies
214:. Following that, he wrote
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82:establishing the style of
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448:10.1017/S0021911817000031
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16:Japanese literary genre
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228:Nanso Satomi Hakkenden
201:Nanso Satomi Hakkenden
188:Nanso Satomi Hakkenden
180:Yoshitsune Banjaku-den
116:NansĹŤ Satomi Hakkenden
70:, Buddhist tales, and
549:Devitt, Jane (1979).
159:Nishiyome Monogatari
356:Monumenta Nipponica
321:Monumenta Nipponica
240:Japanese literature
135:banned such works.
106:Harusame Monogatari
262:Kotobank, Yomihon.
37:, "reading books")
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265:The Asahi Shimbun
224:Udonge Monogatari
184:Shochu hachiyuden
163:Ugetsu Monogatari
100:Ugetsu Monogatari
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561:(2): 253–274.
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284:(3): 485–498.
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208:Takao Senjimon
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173:Middle Yomihon
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111:Kyokutei Bakin
43:book from the
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167:Tale of Genji
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39:is a type of
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125:SantĹŤ KyĹŤden
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61:Water Margin
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97:, with his
688:Categories
246:References
45:Edo period
655:KusazĹŤshi
645:Kokkeibon
575:0073-0548
529:162540508
513:0021-9118
465:165078273
457:0021-9118
306:162540508
49:kusazĹŤshi
663:KibyĹŤshi
650:NinjĹŤbon
640:Sharebon
635:Dangibon
234:See also
144:Overview
41:Japanese
34:yomi-hon
673:Yomihon
583:2718853
521:2052003
411:2718853
376:2383404
341:2384497
298:2052003
139:History
129:yomihon
121:yomihon
88:yomihon
84:yomihon
76:yomihon
21:Yomihon
699:Gesaku
659:Akahon
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127:wrote
667:GĹŤkan
579:JSTOR
525:S2CID
517:JSTOR
461:S2CID
407:JSTOR
372:JSTOR
337:JSTOR
302:S2CID
294:JSTOR
53:karma
571:ISSN
509:ISSN
453:ISSN
103:and
563:doi
501:doi
443:doi
399:doi
364:doi
329:doi
286:doi
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