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Friday, November 16, 2012

FUKUZAWA YUKICHI


File:FukuzawaYukichi.jpg

http://en.wikipedia.org/wiki/Fukuzawa_Yukichi


The following text was originally published in Prospects: the quarterly review of comparative education (UNESCO: International Bureau of Education), vol. XXIII, no. 3/4, 1993, p. 493–506.

©UNESCO: International Bureau of Education, 2000

This document may be reproduced free of charge as long as acknowledgement is made of the source.

FUKUZAWA YUKICHI

(1835–1901)
Nishikawa Shunsaku

In Japan, one can see a portrait of Fukuzawa Yukichi on every 10,000-yen note. This is official recognition of his dedication to the cause of introducing Western institutions and thought into Japan. Some people, however, may wonder why such a man wears traditional Japanese robes.
Although there are a number of pictures of Fukuzawa, only a few are in Western attire. It seems that this reflects his  basic stance: he always emphasized the spiritual revolution rather than the spurious imitation of things Western.
Fukuzawa first learned Dutch and later changed to English studies; he visited the United States twice and travelled through Europe for almost a year before the Meiji Restoration (1868).
On these journeys he was able to perceive the basic ‘stones and pillars’ of modern society developing in the West. There he also conceived his manifest destiny—education and journalism. Soon after his second voyage he began to set up his school, Keio-gijuku, which was to produce
many talented graduates in business, industry and politics.
Fukuzawa published numerous pamphlets and textbooks that were used in the emerging modern schools and were also welcomed by a variety of other types of reader. The great attraction of these writings was not only that the topics were new, but that the style was revolutionary in its
simplicity. The Japanese people were able to learn much about the forthcoming civilization from the so-called ‘Fukuzawa books’.
Fukuzawa also wrote many books and articles for scholars. These were mostly published by the university press or through the newspaper, Jiji-shimpo [Times], that he launched in 1882.
From that time on, Fukuzawa wrote numerous articles and satires on various contemporary issues, such as politics, international relations, economic and financial problems, educational policy, women’s rights and a moral code.
His main theme may be summarized in one word—‘independence’—since he believed that personal and national independence was the real foundation of modern society in the West. In order to achieve this self-independence, Fukuzawa advocated Western, or practical and scientific,
learning, instead of the traditional studies of the Chinese classics. The more educated the people became, the better their national independence could be asserted, with a corresponding increase in public virtue and social morality. Although Fukuzawa apparently learned much from Western thinkers, he was not blindly attached to Western civilization. He was well aware of its flaws, but realized that Western civilization was technologically superior to the Japanese situation, and he concluded that the
Japanese people could use it as a model. He seemed, however, to have anticipated the difficulties that arose in revolutionizing the minds of his countrymen.

Boyhood and student days

Fukuzawa was born in Osaka in 1835. This was a period that had been preceded by two centuries of isolation from the rest of the world and was to be followed nineteen years later by the opening up of Japan. The governing bodies of the Shogunate and the 260 domains which had held power for so long had not been able to adjust to the profound changes taking place in society. They were trying desperately to tackle the chronic suffering brought about by the budget deficit by means of
political and economic changes. Fukuzawa’s family lived in Osaka, at that time the trading centre of Japan. His father worked as a low-level treasury officer representing his home domain of Nakatsu (a province in the
northern part of the island of Kyushu). His class in society was that of samurai, but of low rank with a modest hereditary position. The job did not appeal to Fukuzawa’s father, but he remained loyally in service until his sudden death at the age of 44, barely eighteen months after the birth of
Fukuzawa. The widowed mother returned to Nakatsu to bring up her two sons and three daughters. Their allowance reduced them to poverty, and they were obliged to supplement their income with casual paid work in the home. Fukuzawa himself repaired sandals and did other odd jobs. There
was no money to send him to school until he was 14, ten years after the usual starting age. Elementary education at the time was divided between one type of school for male children of samurai, and another for children of commoners.

 Sons of samurai, aged 5–7, learned the
Chinese classics from either their father or some relative and masters of neo-Confucian learning,
who often ran private classes or schools. Secondary and/or higher education was provided either in
private schools or in the  domanial school. Since the mid-eighteenth century, most of the large
domains had inaugurated domanial schools. The domain of Nakatsu had it own school, but entry
was restricted, the rank of the student’s family being an important factor. The son of a low-ranking
samurai, even if he were the eldest, did not qualify for enrolment in the domanial school.
The learning available inside an isolated Japan was limited by government decree, but to
imagine Japan as totally cut off would be to oversimplify. Since the sixteenth century, Westerners
had visited Japan, but from the early 1640s had been barred entry. On the small man-made island of
Dejima, only Dutch traders were allowed to stay. This contact with the outside world was tightly
controlled by the Shogun and special permission was required for merchants, interpreters and the
military to go to Dejima. Nonetheless, Western knowledge, especially medical and natural science,
somehow filtered through the Shogun’s barriers and was diffused throughout the country. Eighty
years before Fukuzawa’s time, several Japanese physicians had pioneered the translation of the
Dutch version of J.A. Kulumus’ Tabulae anatomicae (Ontleedkundige tafelen).

 The commodity
of Western learning was in limited supply, strictly controlled and sometimes constituted a danger
for its students, but it existed nevertheless.
When Fukuzawa attended school he soon revealed his ability. While he excelled inside the
classroom, outside his low rank left him vulnerable. When playing with his upper-samurai
classmates, the lower-ranking Fukuzawa was the brunt of their arrogance. Class divisions were still
strict enough to prohibit marriages between the two groups. Even as a young man Fukuzawa was
aware of and deeply resented the inequality of the system.

The arrival of the United States fleet in the summer of 1853 sent a profound shock
throughout the country—to samurai and commoner alike. For Fukuzawa it meant that he was
asked by his brother (who had inherited his father’s position) to go to Nagasaki to learn Dutch in
order to master Western gunnery. The elder brother wished to give Fukuzawa a unique opportunity
and expected him to render a service to his lord in the future. Fukuzawa accepted his suggestion
with no real understanding of what Dutch was or what threat was represented from the outside—
he was, however, most anxious to leave his home town.
They left for Nagasaki one month before the Treaty of Peace and Amity between Japan and
the United States. Fukuzawa became a servant/student to the councillor of Nakatsu’s heir, who
was there for the same purpose. As he was hardly able to learn the alphabet there, he was
transferred to the ‘master’ of gunnery who really did not understand Dutch very well.
Although there was no vast progress in Dutch studies in Nagasaki, the councillor’s son was
jealous of Fukuzawa. He fabricated a story that Fukuzawa’s mother was ill in Nakatsu, showed him3
a falsified letter, and suggested that Fukuzawa return home. Fukuzawa discovered the falsehood
but decided to leave Nagasaki anyway. Having no money, he forged the signature of an official and
charged his expenses to the domanial warehouse in Osaka. Instead of heading for home, he went to
Edo (now Tokyo), 1,000 kilometers to the north, to continue his studies.
The boat trip across the Inland Sea took two weeks owing to the numerous stops. En
route, Fukuzawa disembarked and walked through the night to reach the Osaka domanial
warehouse where his brother, Sannosuke, was stationed. He persuaded Fukuzawa to stay and enrol
in a Dutch-language school at Tekijuku, which was run by a physician, Ogata Koan (1810-63). The
school did not teach medicine exclusively; rather Ogata was successful in distributing vaccines in
Japan and educating many young men like Fukuzawa who would later participate in the building of
the modern nation.

During Fukuzawa’s three-year stay at Tekijuku, both he and his older brother fell ill and
were sent back to Nakatsu to recover. But Sannosuke died and Fukuzawa succeeded him in
performing guard duty at the castle, since he had no experience as a treasurer to take over his
father’s old job. He begged his mother to let him return again to study at Tekijuku and
subsequently received official permission to do so.
In the next year, Fukuzawa became the top student at the school and his autobiography
recalls fond memories of his schooldays.

 It is worth mentioning that, with his colleagues, he
studied mainly physics, chemistry and physiology, and copied and translated a Dutch book on the
art of fort-building.
The move to the capital and the world
In the autumn of 1858, Fukuzawa was appointed teacher of Dutch to the vassals of the domain of
Nakatsu. The course was to be held in the second domanial house of Edo. This time Fukuzawa
travelled on foot to Edo with ‘real money’ and a servant. This ‘servant’ was actually his colleague
who wished to go to Edo and who later completed the translation of a statistical table giving figures
about all nations.

July 1859 marked the opening of three ports in Japan according to terms of the Treaty of
Amity and Commerce, signed in the previous year with the United States and some European
nations. Soon after the opening, Fukuzawa went to visit Kanagawa (now Yokohama) and was
disappointed to find that he could not read the signs or make himself understood. English was the
language of the port city. He then decided to learn English, but his progress was slow since he
could find neither a good teacher nor a good dictionary.
Within the terms of the Treaty the Shogunate decided to dispatch envoys to the United
States. Fukuzawa immediately volunteered his services to Admiral Kimura Yoshitake (1830–1901).
After thirty-seven days at sea on a voyage marked by consecutive storms, they reached San
Francisco in the spring of 1860. During his one-month stay, Fukuzawa’s most significant
acquisitions were a Webster’s dictionary and a photograph of himself with the photographer’s
daughter. This dictionary, recommended by the interpreter, John Manjiro,

 is deemed to have been
Fukuzawa’s intellectual weapon in understanding modern civilization.
After his return, Fukuzawa was employed in the foreign affairs office of the Shogunate
translating diplomatic documents. The next year he married Okin, the daughter of an upper-rank
samurai from his home domain. Once again, in 1867, Fukuzawa was able to go to the United
States. This time the mission visited Washington and New York to negotiate on the unsettled
purchase of a warship from the United States’ Government. Fukuzawa’s real aim was to acquire
textbooks for students who were forced to copy their texts by hand. He bought as many books as
possible within his budget.
Fukuzawa’s most important voyage was with the mission to Europe, whose assignment
was to negotiate the postponement of additional port openings and an adjustment of the exchange4
rate. It failed on both accounts, but travelled through France, the United Kingdom, the Netherlands,
Germany, Russia and Portugal. Fukuzawa, acting as translator, observed many new things and
institutions such as hospitals, arsenals, mines and schools. Based on what he saw and read in the
year-long tour, Fukuzawa published the first volume of  Seiyo jijo [‘Things western’, or ‘The
conditions of the west’],

 which described his immediate discoveries. It became a national
bestseller.
Fukuzawa realized that technical progress had contributed to the prosperity he had
witnessed in Europe. He began to believe that revolutionary changes in people’s knowledge and
thinking were a fundamental requirement for similar progress in Japan. While in London, he sent a
letter to his friend at home stating that the most urgent thing to do was to educate talented young
people rather than to purchase machinery and armaments. He decided to postpone the writing of
the second volume of  Seiyo jijo and instead translated J.H. Burton’s Political economy. In this
1867 book, to which he gave the title The outside volume, the ‘corner-stones and main pillars’, the
intangible social network constituting civilized society was discussed.

 It was indeed an
introduction to ‘the condition of the West’.
After his return to Japan, Fukuzawa began to set up his own school. The number of
students grew rapidly to 100 by 1867. His duties with the Shogunate were only six days a month,
so he was apparently able to use the other days for reading, writing and teaching. The popularity of
his accounts of Western life indicated an interest and tolerance of the outside world. Other groups,
however, wanted to expel the ‘barbarians’, together with any Japanese scholars interested in
Western studies. The fanatic  joi ronin (breakaway groups of samurai who wanted to expel
foreigners) were apt to murder those who represented Western ideals. People like Fukuzawa were
at risk. In fact, Omura (see footnote 5) was killed by them in 1869.
The encouragement of learning
Amid the sounds of gunfire from a battle only a few kilometers from Keio-gijuku

 Fukuzawa continued his lectures on political economy as usual.

 It was 4 July 1868 and the Restoration forces were challenging the tottering Tokugawa regime. Fukuzawa told his students, reduced from
100 to 18 on that day, ‘Whatever happens in the country, whatever warfare harasses our land, we will never relinquish our hold on Western learning. As long as this school of ours stands, Japan remains a civilized nation of the world’.

These words explain clearly what Fukuzawa had in mind—Western learning and education.
Soon after the defeat of the Tokugawa forces in Edo, the new authorities asked Fukuzawa to join
the government service. He declined the offer and never became a partisan of the new government,
which gave him much more freedom in judging and writing about the course of both parties. In the
years that followed, he devoted himself exclusively either to teaching at Keio or helping initiate
modern schools elsewhere. He also translated and/or wrote pamphlets about the West and
elementary textbooks on a surprisingly wide variety of subjects such as physics, geography, military
arts, the British Parliament and international relations.
Among his books,  Gakumon no susume [An encouragement of learning]

 is the most
celebrated. It was originally a series of essays written and published between 1872 and 1876. The
first essay, which was an enormous success, was the manifestation of Fukuzawa’s thesis to the
general public. The opening lines read: ‘It is said that heaven does not create one man above or
below another man. Any existing distinction between the wise and the stupid, between the rich and
the poor, comes down to a matter of education.’

What is important here is Fukuzawa’s concept of ‘education’—the ‘practical learning that
is closer to ordinary human needs’

 or, in a word, jitsugaku. In his opinion it consisted first of5
learning the forty-seven Japanese kana letters, methods of accounting and the abacus, the way to
use weights and measures, and then such subjects as geography, physics, history, economics and
ethics.
The subjects in the first group had been taught in the terakoya, which literally means ‘the
temple school’. Its connection with Buddhism had been gradually relinquished since the
seventeenth century, and in the next century it became a primary school for commoners’ children
and daughters of samurai, particularly those of low rank. The teachers were people such as poor
samurai, village headman or Shinto priests. Buddhist teachers were rather scarce in the eighteenth
century. The terakoya mushroomed in the first half of the nineteenth century. Fukuzawa was aware
of this, so apparently he put more stress on the subjects in the second group which could be taught
in a modern school.

 He felt that these areas had been well developed in the West but not in the
East.
He bitterly criticized the traditional Japanese school curriculum, emphasizing ancient texts
and the enjoyment and writing of poetry, as providing impractical pursuits. He argued that Western
education was necessary and urged boys and girls who had just learned  kana letters to consult
translated textbooks and, at a more advanced stage, to read a Western language. In his school he
relied on Western authors, and by 1890 had hired foreign teachers.
Fukuzawa felt that jitsugaku could contribute to personal independence, but that ‘freedom
and independence refer not only to the private self, but to the nation as well’.

 Fukuzawa also believed that these elements were a human right and concluded:
Each individual man and each individual country, according to the principles of natural reason, is free from bondage.
Consequently, if there is some threat that might infringe upon a country’s freedom, then that country should not
hesitate even to take up arms against all the countries of the world.

It can be understood from this why he even translated military manuals.
Fukuzawa’s style in ‘An Encouragement of Learning’ and in other textbooks and manuals
was completely new to Japan. In the past, books had been written in a Chinese script with
characters difficult for ordinary people to understand. The new style was colloquial and
comprehensible even for the less educated. In the face of the general opinion that the Japanese
language did not lend itself to oratory, he started public speaking and conducted open debates. He
was a prime exponent of the art of public speaking in the presence of skeptics and built a meeting
hall at Keio where he, his fellows and students held many gatherings and debating contests. This
small hall, the Enzetsukan, still stands on the campus at Mita.

The theory of civilization
In a letter to one of his friends, dated 23 February 1874, Fukuzawa wrote:
I don’t think I’ll take on any more translations. This year I’m going to read and work without worrying about the
hundreds of miscellaneous things. My health is getting better, and my knowledge will be exhausted unless I study
more. I shall spend about a year on my studies.

This was in anticipation of reading the references  and drafting his magnum opus, Bunmeiron no gairyaku [An outline of a theory of civilization], which appeared the following year.

Unlike the other works by Fukuzawa, which were mainly for public enlightenment, this
book was intended for Japanese intellectuals. At that time they were divided into several camps—
some were very enthusiastic about introducing an ideal Western model of civilization, while others
were reluctant about or even opposed to modern values and principles. Presumably, Fukuzawa6
wanted to clarify the argument and to persuade them to present a common front in favour of
modernity.
Fukuzawa was a prolific writer and able to produce an enormous quantity of work, but it
took an exceptional amount of time and toil to finish this book. The manuscripts, which are
preserved today, show that they were subject to revision again and again. The style was scholarly,
hence not easy to read, eloquent and presenting all points of view. Nonetheless, his main objective
is crystal clear: self-sufficiency and national independence. ‘Civilization’ was both the outcome and
the means to independence.
What then was ‘civilization’?
In its broad sense, civilization means not only comfort in daily necessities but also the refining of knowledge and the
cultivation of virtue so as to elevate human life to a higher  plane. [...] [Thus] it refers to the attainment of  both
material well-being and the elevation of the human spirit, [but] since what produces man’s well-being and refinement
is knowledge and virtue, civilization ultimately means the progress of man’s knowledge and virtue.

Fukuzawa took great care to explain the distinction between knowledge and virtue. He defined
virtue as morality, and knowledge as intelligence, and deliberately adds that in English they are
termed respectively ‘morals’ and ‘intellect’. These definitions were specified so as to avoid any
association with neo-Confucian concepts. Fukuzawa’s philosophy represents a break with
traditional thinking.
Traditional Japanese teaching appreciated both private virtue and benevolent rule as
imparted by the Chinese classics. In this case, the philosophy was concerned mainly with
governing—the man of virtue, usually the king or emperor, ruling benevolently over his people and
land due to his personal competence and virtue. The people, on the other hand, were uneducated
and depended on the ruler. Most Japanese scholars, in both official and private academies, taught
young people how to read, but they did not encourage any original thought or novel ideas. The
courses had nothing to do with political economy: such subjects were considered either ‘vulgar’ or
inappropriate for the young. Teaching in terakoya was assuredly practical, but not very scientific.
Knowledge gained there at best only contributed to personal intellect and profit.
Buddhism in Japan had lost its authority and function in the previous centuries. Buddhists
had become mere subjects of the political authority, namely the Tokugawa Shogunate. Thus, not
only neo-Confucian scholars and Buddhists but also commoners and samurai depended on their
hereditary positions. Most of them were indifferent to public matters. They were ruled, credulous
and blindly faithful to the ruler upon whom all the power was vested. Fukuzawa remarked that this
was the most outstandingly negative feature of Japanese civilization.
In Fukuzawa’s thinking, virtue and knowledge could each be divided into two parts, private
and public. He was convinced that man had an innate integrity and potential talent. While it was
quite possible to acquire knowledge in school, it was impossible to make a person use his private
virtue publicly. Looking at history, he saw that the ruled had their virtue bottled up inside them so
that it could rarely surface—at best, only within the family unit. Private knowledge, on the other
hand, could be diffused into society more easily and then transformed into public wisdom. People
had begun to recognize empirical laws and science, not only natural but also moral (or social)
science. ‘In Western civilization,’ Fukuzawa wrote, ‘the social fabric includes various theories that
have developed side by side, have drawn closer to one another, and finally united into one
civilization—in the process giving birth to freedom and independence.’

 While Japanese thinking had been concentrating on the impossible task of creating public virtue, the West had expanded
public wisdom, that is why he revered Western learning and criticized neo-Confucian teaching in his country.
In this regard, Japanese civilization apparently lagged behind the West. According to the theory of human development proceeding in stages, Japan (along with China) was placed in the semi-civilized stage.

 Although ‘advanced’ and ‘backward’ are relative terms, the distance between
East and West was assuredly great. It was impossible, in Fukuzawa’s thinking, to be able to catch
up with the leaders simply by purchasing modern arms, machinery and external structures, since
civilization meant the development of the inner spirit, namely the virtue and knowledge, of the
entire nation. Thus it follows that ‘Civilization [is] Our Goal’.

In the final chapter of ‘An outline of a theory of civilization’, Fukuzawa turns again to the
problem of ‘national independence’ which was a serious concern for all Japanese intellectuals.
Japan, he believed, was in reality only a small Far-eastern country at that time, and hence did not
require the support of great military power.

 He concludes:
Moreover, the argument for national polity, for Christianity, and for Confucianism[...]are also insufficient to bolster
people’s hearts.  What, then, will? I say there is one thing: namely, to establish our goal and advance toward
civilization[...]The way in which to preserve this independence cannot be sought anywhere except in civilization.
30
Hard years, 1877-81
The number of students at Keio-gijuku, which had climbed back to more than 300 between 1871
and 1876, again began to decline, in part because of the unsettled domestic scene. As most of the
students were samurai, a decision by the government in 1871 to abolish domains and reduce the
hereditary privileges and stipends of the lords and vassals also affected the amount of money that
could be spent on education. In five years, this process of confiscation was completed. The shizoku
(former samurai and their families) were given a compensating debenture, the amount of which was
modest compared with that given to the kazoku (aristocrats) and the higher-ranking shizoku. The
majority of shizoku—the medium and lower ranks—were not satisfied with the arrangement. Only
Fukuzawa was pleased to declare himself a commoner (heimin) and declined any compensation.
During this period, Fukuzawa’s students, most of whom were samurai, had been obliged to
leave the school because of their lost privileges, the war and worsening poverty due to inflation.
Those who came from Satsuma returned to join the rebellion there and were either killed or
wounded. In dire financial straits, Fukuzawa supplemented the school’s budget with his personal
income and also asked for loans from the government and private sources. No one, however, was
willing to lend the Keio-gijuku any money and some suggested that it should be dissolved. His
fellow teachers responded by voluntarily accepting a reduction of their salary by two-thirds.
Subsequently, the number of students gradually recovered from a low of 200 in 1878 to as many as
500 in 1881. Interestingly, the ratio of commoners enrolled grew from a third to more than a half
by 1875. Fukuzawa later conjectured that this was due to the post-war inflation that raised the
wealthy farmers’ income sufficiently to send their sons to Keio-gijuku.

As the government was heavily dependent on fixed land taxes for its revenue, it was also
suffering financial deficits. As a measure to reduce expenditure, it decided to sell government
factories and enterprises. When it was announced that these properties had been sold off at
incredibly low prices, civil rights leaders criticized the government severely. A rumour appeared in
the press that Fukuzawa, with the financial help of Iwasaki Yataro (1835–85) of the Mitsubishi
Corporation, was urging a coup d’état by Okuma. In a counter move, Ito Hirobumi (1841–1901)
purged Okuma from the cabinet. The real reason for this political drama was a struggle for control
over input on legislation for the future constitution. The man who was able to exercise this control
was expected to be the de facto prime-minister. Several Keio graduates who had worked under
Okuma had suggested a constitutional monarchy on the British model, while the Ito group
preferred the Prussian type. This group was responding to, and afraid of, Fukuzawa and the Keio
school, since Fukuzawa himself often expressed active support for Okuma’s policies.8
Criticisms and appreciation
After the political victory, Ito suspended the constitution and the opening of the Diet for ten years,
and cancelled the sale of government properties. Before their split, Ito, Okuma and other members
of the government had arranged with Fukuzawa to start a newspaper to help promote the early
opening of the Diet, but this too was shelved. Fukuzawa decided to proceed alone and launched
Jiji-shimpo on 1 March 1882. In the inauguration article, he declared that this quality newspaper
would remain impartial and independent.
From that time onward most of Fukuzawa’s writings appeared in  Jiji-shimpo, not only
serious articles but also satire. He addressed all contemporary issues—politics, domestic and
international issues, political economy, education and educational policy, the moral code,
particularly women’s rights, and so forth. These articles and parodies fill nearly half of the twentytwo volumes of his Collected Works.

In a broad overview of his works, it can be seen that Fukuzawa was proceeding in a
straight line towards individual and national independence. Yet, even in the 1870s, there was some
controversy over his discussions on moral issues concerning loyalty, money and so forth.

Moreover, serious criticisms and comments have recently been levelled at his articles from the
1880s and afterwards. Such criticism has raised serious doubts as to Fukuzawa’s real intentions or
his real personality. So strong has been the reaction against his articles about Asia that it has nearly
obscured the impact of his less controversial articles—for instance, the ones about women’s
equality—and placed Fukuzawa in the very category that he was supposed to be opposed to.
One such article, and perhaps the most disputed, is ‘Datsu-a-ron’ [On departure from
Asia], written in 1885. Fukuzawa states:
Our immediate policy, therefore, should be to lose no time in waiting for the enlightenment of our neighbouring
countries [Korea and China] in order to join them in developing Asia, but rather to depart from their ranks and cast
our lot with the civilized countries of the West […]We should deal with them exactly as the Westerners do.

Readers today react strongly to this passage. Yet such a statement can be more fully understood if
it is seen in its proper context. Fukuzawa’s seemingly aggressive stance reflects the changing
international relations in East Asia during those years. Moreover, Fukuzawa’s concern with Korea
had its own history.
Fukuzawa had been acquainted with the Korean reformists, Pak Yong-hyo and Kim Okkyun, since 1881. Kim had particularly close contacts with Fukuzawa

 as he came to Japan three
times between 1882 and 1884, receiving much advice and every assistance from Fukuzawa during
his stay (each one lasting several months). Fukuzawa recommended that talented young men
should be educated, that the people should be enlightened through a ‘newspaper’, and that Korean
sovereignty and independence from China should be emphasized.
Thus, in the first instance, Kim sent a group of young students to Keio-gijuku, to the
military academy and to other Japanese schools. Secondly, the newspaper, or more properly
speaking, a governmental bulletin, was published three times a month beginning in November 1883
through the efforts of Kakugoro Inoue (1859-1938), who was dispatched by Fukuzawa in
December 1882 and appointed project adviser by the king. The third objective, however, was
extremely difficult to achieve; following the 1882 anti-Japanese revolt by the Korean army, China
had declared her suzerainty and exercised a firm grip over the Korean court.
Fukuzawa’s expectation for Korean progress faded as Korean dependence upon China
grew. ‘Traditions’ were obviously the lifelong enemy of Fukuzawa; in such a hopeless situation, he
saw a parting of the ways—Japan choosing change, with Korea and China resisting it. A more
sympathetic view of Fukuzawa’s suggestion of turning away from Asia can be sustained with the
knowledge that, for several years, his efforts were directed at aiding enlightenment and reform in9
Korea. Fukuzawa’s articles on Korea after 1881 were numerous, but always emphasizing its
sovereignty and national independence. On the contrary, in ‘On departure from Asia’, he criticized
Chinese imperialism and decided not to give China any special consideration simply on the grounds
that it was a neighbouring country.
Fukuzawa’s concern for women is apparent in his main writings, now collected in
Fukuzawa Yukichi on japanese women.

 From today’s perspective his position on women’s rights
seems somewhat restrained. No one can deny that he was the only Meiji thinker who tirelessly argued for women’s equality. In addition to several earlier articles, he wrote much in the late 1880s on the subject.

 His focus was directed to where the biggest problem lay in Japan: women’s rights in the home, the growth of their independence there, and eliminating the subjection of women to men in society.
Fukuzawa criticized the customary ill conduct of men towards women, and condemned the remaining vestiges of polygamy. Both, he argued, were the most uncivilized customs of Japanese society. He claimed fundamental equality for women and equal ownership of the family property.
He wrote:

Therefore, to teach them [women] at least an outline of economics and law is the first requirement after giving them a
general education. Figuratively speaking, it will be like providing the women of civilized society with a pocket dagger
for self-protection.

Some recent comments concerning his arguments on women suggest that Fukuzawa held too narrow a view. For example, he never suggested public activism for women, he mainly encouraged middle-class women compared to those of the lower classes, he did not touch on the issue of women in the labour force (most of whom worked in wretched conditions) and, lastly, he did not condemn the prostitution of poor girls or their migration overseas, since he regarded it as preferable to starvation. Despite the limitations of Fukuzawa’s definition of equality of women, considering their position, his arguments were appreciated by women at the time, as is shown by the following letter passed anonymously by a lady to Mrs. Fukuzawa at the time of his funeral:
Every time I read Sensei’s articles on Japanese women in Jiji-shimpo, I feel grateful that he is our real friend. Indeed, it is our deep sorrow to lose Sensei now […] With my tears, I sincerely hope that Sensei’s desires shall permeate our country for ever.
To sum up, in his time Fukuzawa was a ‘teacher’ of not only boys and girls in schools but also of Japanese men and women, and this may still be considered the case today



Monday, November 5, 2012

Modern Japanese Literature



File:Ishihara Mishima.jpg
http://en.wikipedia.org/wiki/Mishima_Yukio

File:HarukiMurakami.png
http://en.wikipedia.org/wiki/Haruki_Murakami


Japanese Modern Literature (from 1868)

When Japan opened to the rest of the world in the Meiji period (1868-1912), the influence of western literary concepts and techniques was felt strongly. Novelists experimented with 'new' ideas such as liberalism, idealism, and romanticism and were variously influenced by French, British or German literature. One writer who came to Japan and became the first foreigner to truly capture the essence of the country in his work was Lafcadio Hearn, better known in Japan by his adopted nameKoizumi Yakumo (1850-1904). B>Kwaidan, a collection of ghost stories, is perhaps best known by Japanese people.
The period between the turn of the century and the domination of militarism in the 1930's produced three great writers: Mori OgaiNatsume Soseki and his protogeAkutagawa Ryunosuke.
Ogai (1862-1922) gave up an early literary career to concentrate on his work as a doctor with the Japanese army, returning to writing only after his retirement. He was inspired mainly by German literature and played a leading role in the Japanese romantic literary movement. He wrote poetry, drama and historical biography, but his best work of fiction is considered to be his novel The Wild Geese (1912). It is a poignant story of unfulfilled love, set against the background of the dramatic social change that came with the fall of the Meiji regime, as the young heroine is forced by poverty to become mistress to a moneylender.
Soseki (1867-1916) - as he is usually known - began his career as a scholar of English literature at Tokyo Imperial University. He resigned to devote his time to writing and published his first novel Wagahai wa neko de aru (I am a Cat) in 1905. It is a satirical portrait of human vanity and was followed by increasingly pessimistic, brooding novels such as Kokoro (Heart) and his unfinished masterpiece, Meian(Light and Darkness). Soseki's works often dwell upon the alienation of modern humanity, the search for morality, and the difficulty of human communication. Soseki's portrait graced the front of the ¥1,000 note for many years.
Akutagawa (1892-1927) is best remembered today for the literary prize in his name that is awarded to young fiction writers. He was a prodigious student and studied under Soseki at Tokyo Imperial University. His most famous work is Rashomon and Other Stories (1915), the title story of which was one of the sources of Kurosawa Akira's masterpiece. In this book of short stories, he questions the values of his society, dramatizes the complexities of human psychology, and studies, with a taste for Zen-like paradox, the precarious balance of illusion and reality.
During the 1930's and 40's, the domination of the military meant that literature was largely stifled. The two great writers to emerge in the postwar period were Kawabata Yasunari (1899-1972), who was awarded the Nobel Prize for literature in 1968, andTanizaki Junichiro. Their most famous works are Kawabata's Yuki-guni (Snow Country, 1935-47) and Tanizaki's Tade-kuu Mushi (Some Prefer Nettles, 1928). The former tells of a relationship between a middle-aged writer and an aging geisha. The latter uses the cities of Tokyo (which had just been devastated by an earthquake) and Osaka as symbols of the conflict between modern and traditional Japan.
Perhaps better known abroad is Mishima Yukio (1925-70), whose life and death were as dramatic as his art. He was a homosexual and obsessed with the body, physical beauty and its inevitable decline and death. His first major work wasKamen no Kokuhaku (Confessions of a Mask, 1949) and he handed his last, the 4-part novel Hojo no Umi ( The Sea of Fertility, 1965-70), to his publisher on the day of his death. Another masterpiece, Kinkakuji (The Temple of the Golden Pavilion, 1956) tells of a monk disgusted by his own ugliness who burns down the famous Kyoto pavilion rather than see it fall into the hands of the US military. Mishima despaired at the westernisation of Japan and longed for a return to nobler times. He was perhaps the only writer of his day who was capable enough to write kabuki plays in the traditional style. He was excused military service during the war and the guilt of this plagued him throughout his life. He took up bodybuilding and martial arts and liked to pose in photographs depicting his violent end. With life imitating art, he committed ritual suicide together with members of his fanatical private army after failing to create a revolt by the military.


Left to right: Kawabata receives the Nobel Prize for Literature; Mishima Yukio; Yoshimoto Banana and the cover of her book Kitchen.

In 1994, Oe Kenzaburo (1935- ) became Japan's second literary Nobel recipient. Representative of his works are Kojinteki na Taiken (A Personal Matter, 1963) andManen Gannen no Futtoboru (The Silent Cry, 1967). Both novels dealt with the theme of being the father of a brain-damaged child, which Oe knew about from experience. In his novels, Oe creates a world rich in poetry and imaginative power, where reality and myth are inextricably intertwined. He also wrote about the polarity felt by 20th century Japanese between their own culture and the outside world. Recently he wrote Tsugaeri (1999) based on the 1995 sarin gas attack by a religious cult on a Tokyo subway that killed 12 people.
Among the most popular authors in recent years are Murakami HarukiMurakami Ryu (no relation) and Yoshimoto Banana, all of whom are known for their harsh insights into modern Japanese society. Murakami Haruki (1949- ) is perhaps the most read outside Japan. The novels Noruwei no Mori (Norwegian Wood, 1987) and Hitsuji o Meguru Bouken (A Wild Sheep Chase, 1989) are among his best known. Murakami Ryu (1952- ) won the Akutagawa Prize in 1976 for his novelKagirinaku Toumeini Chikai Buruu (Almost Transparent Blue, 1976). Other works include Coin Locker Babies (1980) and Topaz (Tokyo Decadence, 1988). He often appears on TV and writes in magazines discussing the current state of Japan and its youth. Yoshimoto (1964- ) is usually either loved or hated by readers. Her dark novels have dealt with themes such as death, incest and lesbianism. Her first breakthrough came with the 1987 novella Kitchen, still her best known book.
Some other pages you might enjoyTop





Saturday, November 3, 2012

Kabuki



File:Kanadehon Chūshingura by Toyokuni Utagawa III.jpg

http://en.wikipedia.org/wiki/Kabuki



http://youtu.be/67-bgSFJiKc



As was the stage tradition in Elizabethan England, kabuki is performed entirely by men. Strangely enough however, this art form was created by Okuni, a female shrine attendant, in the 17th century. Although greatly influenced by the aristocratic noh, kabuki was largely popular entertainment for the masses. A large part of the popularity of the early, all-female performances was due to their sensual nature. The performers were also prostitutes and male audiences often got out of control. As a result, women were banned from performing by the Tokugawa Shogunate. Ironically, the young male actors who took over kabuki also engaged in prostitution and audience disturbances continued to break out. Again, the Shogunate clamped down and troupes composed of older actors were required to perform more formalized and strictly theatrical dramas, based on kyogen. Changes were made to the traditional noh stage, such as adding a draw curtain and a hanamichi (catwalk) through the audience to allow dramatic entrances and exits.



Nakamura Matazo in
'The Wisteria Maiden' (Fujimusume)
Detail of a Kabuki-za poster showing the principal performers

Widely considered as Japan's greatest dramatist, Chikamatsu Monzaemon(1653~1724) spent the mid-part of his career writing kabuki dramas, although his greatest works were bunraku puppet plays. When he returned to bunraku, many fans went with him and kabuki actors began to incorporate elements of bunraku in an attempt to woo them back. Among the great kabuki dynasties, the Ichikawa Danjuroline is perhaps the best known and continues to this day. Ichikawa Danjuro II (1688~1758) premiered many great works and adapted puppet plays for the kabuki stage. Successors played a huge part in raising the status of kabuki in society. Other great acting dynasties include Onoe Kikugoro and Bando Tamasaburo.



The actors who play female roles are known asonnagata or oyama (such as National Living Treasure Nakamura Jakuemon, left, born in 1920). As kabuki gained a level of respectability, the importance of these roles increased. The first great onnagata was Yoshizawa Ayame I (1673~1729). Many of the great kabuki actors have built their reputations solely on these roles. The performances are not so much 'acting' in the Western sense as stylized representations of female beauty or virtue. While early onnagata were required to maintain their feminine persona and dress even in their private lives, this practice was abolished in the Meiji Restoration of 1868.

Kabuki is performed on a large, revolving stage and has such familiar stage devices as scenic backdrops and trapdoors for surprise entrances. Kamite (stage left) is often where you will see the important or high-ranking characters, while shimote(stage right) is occupied by lower-ranking characters. Actors perform kata (forms) as they have been performed throughout the generations. An example is mie or striking an attitude, often with one's eyes crossed and an exaggerated expression for dramatic effect.

The aragoto or 'rough style' of acting is exemplified by such exaggeration and dramatic make-up and costume (left). It is associated with the Ichikawa Danjuro line. Die-hards in the audience join in the action, calling out the yago (house or family name) of the actors at prescribed moments in the performance. Standard male kabuki roles include the handsome lover, the virtuous hero or the evil samurai; for an onnagata, roles include the high-ranking samurai lady, the young maiden or the wicked woman.

Traditional kabuki is highly melodramatic but strictly historical. Like the work of Shakespeare, the old stories and characters in the plays are all familiar to those in the know even though the language itself is often antiquated and hard to follow. But while the Bard's masterpieces are still widely popular among all ages, kabuki is no longer of much interest to younger Japanese people. Audiences tend to be made up of older people and refined young ladies. One of the most famous stories, Chushingura - a tale of revenge and loyalty - owes most of its popularity today to its many movie adaptations. Various actors and troupes have worked to incorporate avant-garde elements into kabuki and have worked in other areas such as TV and film. The actors themselves seem to do alright, at least the ones from the famous kabuki dynasties. Their romantic escapades make tabloid headlines and they appear in the odd TV commercial so I suppose there's life in the old art form yet.

Kabuki is truly a theatrical spectacle, combining form, color and sound into one of the world's great theatrical traditions. But as far as dipping your toe into this particular cultural pond is concerned, a half hour spent at the Kabukiza theater in Tokyo, Shin-Kabukiza in Osaka or the Minamiza in Kyoto is probably all you'll need. At Kabukiza, for example, there is a separate box-office for seats on the 4th floor, where you can enjoy a single part of the program for as little as 500 yen. Seats for the full program range in price from 2,400 yen to 16,000 yen. An English "Earphone Guide" is available (except on the 4th floor) to give you the rundown on what's going on and also give you a bit of background. Feel free to get up and leave when you've had enough!

In November 2005, UNESCO announced its decision to designate kabuki as one of the Masterpieces of the Oral and Intangible Heritage of Humanity. It certainly didn't hurt its candidacy that the director-general of UNESCO at the time was Matsuura Koichiro, a Japanese. Kabuki joined Nohgaku Theater, similarly designated in 2001, and Ningyo Johruri Bunraku Puppet Theater, usually simply referred to as Bunraku, designated in 2003.

http://www.japan-zone.com/culture/kabuki.shtml




Zeami and Noh Theater









Noh Theater









Aesthetic terminology

Zeami and Zenchiku describe a number of distinct qualities that are thought to be essential to the proper understanding of Noh as an art form.
  • Hana (花, flower): the true Noh performer seeks to cultivate a rarefied relationship with his audience similar to the way that one cultivates flowers. What is notable about hana is that, like a flower, it is meant to be appreciated by any audience, no matter how lofty or how coarse his upbringing. Hanacomes in two forms. Individual hana is the beauty of the flower of youth, which passes with time, while "true hana" is the flower of creating and sharing perfect beauty through performance.
  • Yūgen (幽玄): an aesthetic term used to describe much of the art of the 13th and 14th centuries in Japan, but used specifically in relation to Noh to mean the profound beauty of the transcendental world, including mournful beauty involved in sadness and loss.
  • Kokoro or shin (both 心): Defined as "heart," "mind," or both. The kokoro of noh is that which Zeami speaks of in his teachings, and is more easily defined as "mind." To develop hana the actor must enter a state of no-mind, or mushin.
  • Rōjaku (老弱): the final stage of performance development of the Noh actor, in which as an old man he eliminates all unnecessary action or sound in his performance, leaving only the true essence of the scene or action being imitated.
  • Myō (妙): the "charm" of an actor who performs flawlessly and without any sense of imitation; he effectively becomes his role.
  • Monomane (物真似, imitation or mimesis): the intent of a Noh actor to accurately depict the motions of his role, as opposed to purely aesthetic reasons for abstraction or embellishment. Monomane is sometimes contrasted with yūgen, although the two represent endpoints of a continuum rather than being completely separate.
  • Kabu-isshin (歌舞一心, "song-dance-one heart"): the theory that the song (including poetry) and dance are two halves of the same whole, and that the Noh actor strives to perform both with total unity of heart and mind.

A Biographical Sketch of Zeami

The elder of the young men was Ashikaga Yoshimitsu, aged 17, the powerful dynastic shogun and ruler of all Japan, and he had experienced an early form of Noh performed by Kanami Kiyotsugu and his twelve year old son Zeami Motokiyo.
It is due to Yoshimitsu's patronage and interest in early Noh that this dramatic form was able to develop into the highly refined, serene theater which we can see today.
The early origins of Noh theater were mostly folk-type forms of rustic entertainment; Sarugaku, which was connected to Shinto rituals, Dengaku, a kind of acrobatics with juggling, which later developed into a type of song-and-dance, Chinese-derived dances, and recited and chanted ballads which formed part of the oral tradition of the people.
By the middle of the fourteenth century, these various sources seem to have been combined into a form of theater recognizable to modern audiences as Noh, although just what those early plays were like is hard to say. There are plays believed by scholars to be by Kanami (1333-1385), but they seem to have been heavily revised by his son Zeami (1363-1443), and no surviving play can be securely dated to before their era.
Zeami is the prime figure in Noh, having written a vast quantity of plays for his troupe to perform, many of which are still regularly performed to this day. He also wrote a very famous treatise in 1423 on the skills and methods necessary for a Noh actor, and that document is still valid study for young actors.
What Zeami, inspired by his father, managed to create, was a theater of the Muromachi period (1336-1573), written in the upper-class language of the fourteenth century, but which looked back to the supposed Golden Age of the Heian Period (794-1185), by basing plays on people, events and even poetry of that era creating texts of astonishing richness and opacity.
One reason for this is that there is a grandeur and beauty in the plays not to be found elsewhere. Indeed, the wordyuugen, meaning that which lies below the surface, with connotations of nobility, reserved elegance and classical refinement is often used about Noh, and it especially applies to several plays about the Heian period poetess and great beauty Ono no Komachi in old age, when she has lost her looks and her court position, but still appears dressed in silks and satins of restrained hue.Noh exists today in a form almost unchanged since Zeami's day, and while the repertoire may have shrunk from the over one thousand plays in the Muromachi period, there have been  several plays written over the years, at least one of which, "Kusu no Tsuyu", written in the late nineteenth century, is often performed.
There is also a kind of abstraction in Noh which was centuries more advanced than in the west, and indeed it is discouraged to appear to imitate  the external forms of people and objects too closely, concentrating rather on the essence or soul which the actor will attempt to recreate.
One of the most striking aspects of the Noh is that the shite, the main actor, may wear a mask, as may his companions, or tsure. This occurs when the main character is an old man, a youth, a woman, or a supernatural character. Tsure accompany the shite in certain plays, and if they represent one of these groups, they will also be masked, but the shite will not wear a mask if his character is an adult male.
Kokata, or boy actors, never wear masks, nor do waki, the secondary characters who appear first on stage to set the scene, and meet the main actor. Masks are carved from wood, often cedar, which is then gessoed and painted, and include some of the most moving works of sculptural art in Japan, and, since there are so many different types, it takes a certain familiarity with them to recognize specific types.
The other ubiquitous prop is the fan, which in a symbolic theater such as Noh, can represent all manner of other objects, such as bottles, swords, pipes, letters walking sticks and so on.
The play will be performed on a stage open on three sides, and with a painted backboard representing a pine tree behind. A sort of walkway, called the hashigakari leads onto the stage right position from an entrance doorway at right angles to the backboard. Along the hashigakari are three small pine trees, and these define areas where the actor may pause to deliver lines, before arriving on the main roofed stage, which is about six metres square.
Ranged along in front of the backboard is a group of musicians whose instruments include a flute, a shoulder drum, a hip drum and sometimes a stick drum. The musicians are responsible for the otherworldly, strange music which accompanies dance and recitation alike. Again at right angles to the backboard, at extreme stage left, there is the chorus of eight to twelve chanters arranged in two rows and it is their job to take over the narration of the story, or the lines of the main character if he is engaged in a dance.
These elements all contribute to a cohesive whole which creates a richly textured background against which the play is enacted, and since no scenery, few props and only a small cast appears, the imagination of the audience is left to roam freely.
In general, Japanese Noh plays are not very dramatic, although they are beautiful, since the text is full of poetical allusions and the dances, though slow, are extremely elegant. It is this very beauty which makes Noh a living art form still, over six hundred years after it developed, and which has caused all subsequent Japanese theatrical forms to draw on aspects of Noh. Kabuki, for example, has lifted complete Noh plays into its vernacular, as well as deriving many of its technical aspects of performance from Noh.
The Japanese Noh also antedates many developments in contemporary theater, such as no scenery, symbolic use of props and the appearance of non-actors on the stage.
The Noh theater still speaks to audiences today, as evinced by the crowds which still rush to buy tickets for performances at the National Noh Theater, and at the five theaters belonging to the five troupes of Noh. It is a truely timeless artform, which speaks to modern audiences as it did to the noblemen and women of the Muromachi period.
Paul Binnie, July 2001
(updated by Dieter Wanczura in March 2009)



Zeami also sees the flower as a metaphor for viewing a performance. The flower sheds its petals and goes through many different stages in what it looks like, starting from a bud, to disappearing completely, and this is a visible process. Similarly, in front of an audience we see a theatrical event before hand as if it didn’t exist, it then bursts into life on the stage before once more disappearing. The flower is important to Zeami as he feels that this allows us to truly understand what the performance is.
Then we come to the concept of Yugen which he defines as ‘a profound, mysterious sense of the beauty of the universe… and the sad beauty of human suffering’. This can be simply related to the flower as a metaphor, the flower is so visually enticing when alive; yet Zeami believed that when a flower begins to die the process is all the more so. Zeami, perhaps somewhat controversially, saw human suffering in the same way. Noh Theatre portrayed human life as it is; so assuming that pain is a process all must undergo, some believe that human suffering in its own way, is beautiful.
Above from: http://rhodribrady.wordpress.com/2009/11/26/the-flower-as-a-metaphor-in-japanese-theatre/




His Dramatic Life

Zeami was probably born in 1363 south of the erstwhile capital Nara, perhaps in Yûzaki, not far from the venerable and ancient temple complex, Hôryûji. His father, Kannami, was the head of a troupe of players of sarugaku (the ancestor of noh) and was related to several of the leaders of rival troupes in the Yamato area. Kannami was a successful actor and played to appreciative audiences far from home as well as nearby in Nara. His troupe was obliged to appear in certain official performances at religious institutions annually in Nara. Kannami's troupe caught the eye of important officials in the capital Kyoto, to the north, and in 1374, he was called upon to perform before the young shogun, Yoshimitsu. This was likely the occasion when Zeami first came into contact with his most important patron, the shogun himself. Zeami seems to have been a favorite of the Yoshimitsu, who was only about five years his senior. The shogun showed Zeami extraordinary favor, and incurred the criticism of certain aristocrats for it, but this does not seem to have impeded Zeami's career. If some aristocrats considered him beneath their notice, others were impressed by the boy, and he was even afforded the opportunity to compose linked verse with a celebrated poet and minister of state, Nijô Yoshimoto. Perhaps through these exalted connections in Kyoto Zeami gained an education unusual for someone of his social class. He is known to have spent some time at a major esoteric Buddhist temple southeast of Kyoto, Daigoji, and a high cleric there, Mansai, mentions him and events touching on his troupe's fortunes occasionally in his diary.
In 1384, after Kannami died while traveling in eastern Japan, Zeami was charged with the leadership of his troupe. Although facts about his life in these early decades are scant, we do know that he performed before the shogun in 1394 and again, twice, in 1399. Each of these performances was connected with important political spectacles for the shogunate, and Zeami's performances on such occasions are indications of his success in maintaining patronage among the élite. Zeami was, all the same, unable to monopolize shogunal patronage, and he faced a challenge from a much admired rival, Inuô Dôami. Dôami was the most celebrated actor in another style of sarugaku, that of the province of Ômi, that originated closer to the capital than Zeami's Yamato sarugaku. Zeami was acutely aware of the differences between Ômi and Yamato sarugaku, and he apparently made great efforts to master the techniques of such rivals in order to strengthen his own tradition. We see evidence of this in his initial writings on performance, Fûshi kaden (Transmitting the Flower Through Effects and Attitudes), the first parts of which were written between 1400 and 1403. In Fûshi kaden, Zeami unambiguously praises the aesthetic of yûgen, a prime virtue of the actors of Ômi sarugaku. He does this even while maintaining the importance of his own Yamato sarugaku lineage, which was best known for dramatic imitation, or monomane.
Records of events in Zeami's life are rare in the first decades of the fifteenth century, but we do have a growing body of texts on performance, patronage and training, Fûshi kaden, as well as celebrated texts such asKakyô (A Mirror to the Flower, ca. 1424), Kyûi (Nine Ranks, late 1420s), and Shûgyoku tokka (Pick Up a Jewel and Take the Flower in Hand, 1428). These texts give us a perspective on Zeami's aesthetic aims as well as his increasing interest in Zen. There are also other types of texts among Zeami's writings from this period, including some on technical issues in singing (e.g., Fushizuke shidai, Technical Specifications for Setting a Melody, undated), on training actors and overseeing a troupe (Shûdôsho, Learning the Profession, 1430), on how to compose for the stage (Sandô, Three Courses, 1423) and on musical genre (Go on, Five Sorts of Singing, undated). The last of these serves as an anthology of noh songs, and contains a large number of individual pieces arranged by category, including the previously mentioned
We have little precise information on when Zeami composed his most famous plays, but because some of them are mentioned in the texts mentioned above, we do have dates by which a number of them must have been performed. Among these are, by 1419, Tôru and Sekidera Komachi; by 1423, AridôshiAtsumoriHigaki,KiyotsuneSanemoriTadanoriTakasago, and Yorimasa; and by the mid-1430s, Koi no omoniHanagatami,HanjoIzutsuKinutaSemimaruTaema and Yashima. In the same texts, we find similar dates for a number of other plays that Zeami either revised or had a part in composing, such as Kayoi Komachi and Matsukaze (by 1423). A group of playscripts, moreover, is still extant in Zeami's own hand, some by him, some by other playwrights. Among these are Eguchi (autograph ms. dated 1424, see also JPARC's Eguchi Holograph page),Tomoakira (ms. dated 1427), Yoroboshi (ms. dated 1429).
After Yoshimitsu's death in 1408, Zeami does not seem to have retained the strong patronage of the shogunate. The next shogun, Yoshimochi, favored another actor, Zôami, whose roots were in dengaku, a cousin of sarugaku. Zeami himself seems to have had a high regard for Zôami, referring to his performance of a certain piece as "chillingly beautiful." Even without direct shogunal patronage during these years, Zeami remained a popular performer, and there are records referring to wealthy commoners who commissioned him for performances offered up to the gods at certain shrines in Kyoto.
Once Yoshimochi died in 1428, however, Zeami's fortunes changed. The next shogun, Yoshinori, took a strong interest in Zeami's nephew, Onnami. During these years, Zeami's line was stripped of various rights and honors, his eldest son and principal heir, Motomasa, was killed (perhaps murdered), and another son, Motoyoshi, took the tonsure. In 1434, Zeami was exiled to Sado Island, northwest of the mainland of Honshû. Why such a harsh punishment was leveled against the more than seventy-year-old actor remains a mystery. Perhaps it was because of a dispute about who should control the legacy of Kannami and Zeami's troupe. Whether this was the reason or not, one suspects that Zeami had little regard for Onnami's acting. In fact, in the late 1420s, Zeami begins the practice of transmitting texts on performance not to lineal descendants, but rather to his son-in-law, Konparu Zenchiku. Among the most important of them to have been transmitted this way is Shûgyoku tokka (Pick Up a Jewel and Take the Flower in Hand).
In addition to the performance notes discussed above, Zeami can be accounted the author of a fascinating memoir, Sarugaku dangi (Conversations on Sarugaku), although technically this text was recorded by his son, Motoyoshi. It seems likely that Zeami may have returned to central Japan slightly before his death in 1443. His final composition is a set of songs composed on, or about, Sado, entitled Kintôsho.
http://www.glopad.org/jparc/?q=en/node/21982


Another Biographical Sketch


Zeami was born in 1363, during the Namboku-cho era, as the oldest son of Kannami, who was the favored star in the Yamato-yoza (four sarugaku performance groups in the Yamato region). His childhood name was Oniyasha, and his true name was Motokiyo.
When he was eleven years old, he performed the role of shishi (a lion) with his father in a Noh performance competition in Imakumano. Beginning with this performance, Zeami was recognized for his talents and became a star actor. Also, at this performance, he met the young shogun of the Muromachi Shogunate, Yoshimitsu Ashikaga, and was invited to serve Yoshimitsu intimately thereafter. Yoshimoto Nijo, who was the most sophisticated members of the culturati of that time, also favored Zeami and provided him with the knowledge of Japanese classics, such as the Kokinshū and renga poem (linked verse).
In Zeami's day, the shogun and aristocrats were quite important as patrons for newly emerging arts. Therefore, it was a great opportunity for Kannami and Zeami to be recognized by the shogun. Regarding his relationship with Yoshimitsu as a "peg boy," Masako Shirasu, a writer who also learned Noh, notes in her book "Zeami," that "pederasty was neither unusual in Zeami's time nor considered unhealthy as it is today. It was not considered sexual degeneracy but rather was the extreme expression of the attachment between master and apprentice. Ancient Japanese pederasty did not seek feminine beauty in naive boys but recognized boys as the symbol of youth and beauty and sought the ideal of maleness within them. Among Buddhism monks, there was a story of a monk who decided to enter the priesthood because he found a personified Kannon (Deity of Mercy) within a beautiful boy." She continues that "Zeami was not a person who indulged himself in the love of Yoshimitsu. He was a clever boy full of curiosity. In his writings, he showed his appreciation for his debts to Yoshimitsu, but he was not particularly boastful of his relationship with the shogun, and of course he did not attempt to take advantage of the shogun's patronage."
Shortly after Zeami turned twenty, his father, Kannami, passed away while he was traveling for a performance in Suruga (in present-day Shizuoka Prefecture). From that time on, Zeami became the leader of the Kanze group in deed and in name and managed the group as theshite, who was the stage director and the protagonist. He arranged and improved his father's repertory dramas as well as created many new Noh dramas.
Although enjoyed favor in his own life, he suffered over the matter of choosing a successor. Since he was not blessed with a child, he adopted a child, so-called Onnami, who was a son of Zeami's younger brother, Kanze Shiro, Zeami started to think of carrying on the tradition of his performance art and to write "Fūshi kaden." This was a sort of guide written for his successors to sustain the highest status in the world of Noh, while it is recognized as a book of quintessential art theory today.
Zeami and his wife were finally blessed with three children, the oldest son, Juro Motomasa, the second son, Shichiro Motoyoshi, and a daughter, who later became the wife of Komparu Zenchiku. Zeami suffered between favoring his blood-related son, Motomasa, and favoring the Shiro/Onnami family since Onnami, Zeami's nephew and adopted son, was once determined as his successor. Ultimately, Zeami handed down the "Fūshi kaden" to Motomasa, when it was completed in 1418.
Although Zeami was once favored by the shogun Yoshimitsu, their relationship changed over the years. Yoshimitsu came to favor Zeami's rival Noh actor, Inuoh, in his last years and ranked "Dohami (Inuoh) as the best sarugaku actor." However, after Yoshimitsu's sudden death from illness, Yoshimochi, who was a member of the culturati and familiar with Zen Buddhism, became the next shogun. The new shogun favored Zohami, a dengaku actor, instead of Dohami.
In 1428, Yoshimochi died and Yoshinori became the sixth shogun. Zeami's adopted son, Onnami, performed the grand Noh performance for Yoshinori's accession to shogun, instead of Zeami. From there on, Onnami became the leader of the Noh world, and the Kanze group split into the mainstream of the Onnami group and the anti-mainstream of the Zeami and Motomasa group. Around this period, Zeami's second son, Motoyoshi, entered the priesthood probably out of despair regarding his future. Two years later, the first son, Motomasa, passed away in his early thirties while performing in Ise (in current Mie Prefecture).
After losing his successor Motomasa, Zeami mentally relied on Komparu Zenchiku, his son-in-law. In his very last years, Zeami passed down "Noh as a philosophy," including the theory of Noh performance, to Zenchiku.
During such a period, another ordeal came to Zeami. In 1434, seventy-two-year-old Zeami was suddenly expelled from the capital city of Kyoto and was banished to Sado Island (in present-day Niigata Prefecture). It is unknown why the government expelled him because no official record was left about his exile. The fact is barely known through the existence of his letters to Zenchiku and "Kintoh-sho," his travel notes from Sado.
In 1441, the sixth shogun, Yoshinori, was murdered, and Yoshimasa Ashikaga assumed the position of the eighth shogun. Onnami however maintained his privileged star position. The current Kanze School is the lineage of Onnami.
No one knows when and where Zeami passed away. According to the tradition of the Kanze family the date was 1443. If this is true, he was eighty-one years old at his death. It is said that he probably died in Sado Island.

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Noh Photo from National Noh Theatre
Photo from National Noh Theatre

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Introducing the world of Noh

Noh is a theatrical art form that has been handed down through generations and been labeled one of the worlds oldest performing arts. It has also been designated an “Intangible Cultural Heritage” by UNESCO. Noh is a total art form comprised of drama, music and dance elements. While often compared to western opera, the differences can be quite startling. Due to the use of masks in noh masks, one can call noh a “mask drama.”
What is nohFor Noh BeginnersOrigins and HistoryComposition of Noh
shite-kataOther RolesStage
Noh MasksPropsVocal
MusicNoh DanceMovement Patterns
CostumesWhat is Kyogen
Izutsu, Sakurama Kinki © TOSHIRO MORITA
  • What is “Noh”?
    To begin with, what kind of thing is noh?
  • For Noh Beginners
    What kind of things should first time viewers look for?
  • Origins and History
    When did noh first begin? Is noh the same as “Saru-gaku?”
  • Composition of Noh 
    What are the roles of the shite and the waki?
  • Shite-kata 
    The shite is the main performer in a noh,shite performers also sing in the chorus.
  • Other Roles 
    The shite, performs together with other major characters on the stage.
  • Stage 
    Noh was originally performed in open fields, the noh stage seen today was constructed later.
  • Noh Masks 
    What is the meaning of the mask that noh performers wear?
  • Props 
    What are the kind of props used on the noh stage?
  • Vocal 
    The melody of noh is quite unique.
  • Music
    Noh music is made up of a delicate blend of melodies and sensitive, penetrating rhythms.
  • Noh Dance 
    Generally dance serves as the foundation through which the performers express the musical aspects of noh.
  • Movement Patterns 
    The refined movement is created through the beautiful execution of the set patterns.
  • Costumes 
    Another pleasure of noh are the exquisitely designed and embroidered costumes.
  • What is “Kyōgen”? 
    Unlike noh, kyōgen is an art form dedicated to laughter and comedy.

http://www.the-noh.com/en/world/index.html