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Medieval Japanese literature can be broadly divided into two periods: the early and late middle ages, the former lasting roughly 150 years from the late 12th to the mid-14th century, and the latter until the end of the 16th century.
Classical court literature, which had been the focal point of Japanese literature up until this point, gradually disappeared. [ 13 ] [ 11 ] New genres such as renga , or linked verse, and Noh theater developed among the common people, [ 14 ] and setsuwa such as the Nihon Ryoiki were created by Buddhist priests for preaching.
The classical Japanese language (文語, bungo, "literary language"), also called "old writing" (古文, kobun) and sometimes simply called "Medieval Japanese", is the literary form of the Japanese language that was the standard until the early Shōwa period (1926–1989).
The Heike is considered one of the great classics of Medieval Japanese literature. Two main strands feed into the central ethos of the tale, samurai and buddhist. At one level, the Tale is an account of martial heroism – of courage, cruelty, power, glory, sacrifice and sorrow. [4]
The medieval war tales are written in a mix of Japanese and Chinese; the prose was Japanese but included numerous Chinese phrases, as opposed to mid-Heian warrior tales, which were composed in kanbun (Chinese prose). Although the texts are primarily written in prose, they also include occasional poems, usually waka.
For the most part, scholars have been critical of this genre, dismissing it for its perceived faults when compared to the aristocratic literature of the Heian and Kamakura periods. As a result, standardized Japanese school textbooks often omit any reference to otogi-zōshi from their discussions of medieval Japanese literature. Recent studies ...
Tsurezuregusa (徒然草, Essays in Idleness, also known as The Harvest of Leisure) is a collection of essays written by the Japanese monk Kenkō (兼好) between 1330 and 1332. The work is widely considered a gem of medieval Japanese literature and one of the three representative works of the zuihitsu genre, along with The Pillow Book and the ...
Mishima wrote the story in an elegant style drawing upon medieval Japanese literature and the Ryōjin Hishō, a collection of medieval imayō songs. This elevated writing style and the homosexual motif suggest the germ of Mishima's later aesthetics. [108]
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