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Notes and References

1 The Rules of l. Obituary of Thomas Evans, in Gentleman's magazine, vol. LIV, London, 1784, p. 396. 2. EVANS, Robert Harding and WRIGHT, Thomas, An historical and de• scriptive account of the caricatures of James Gillray, comprising a politi• cal and humorous history of the latter part of the reign of George III, Bohn, London, 1851. 3. WELLS, Deane, The of Whittam, Outback Press, Melbourne, 1976. 4. APTE, Mahadev L. Humor and laughter: an anthropological approach, Cornell University Press, Ithaca, 1985, p. 14.

2 The Ethics of Humour

I. THACKERAY, William Makepeace, Charity and humour, in The works of William Makepeace Thackeray, vol. 11, Smith, Elder & Co., London, 1911, pp. 347-364. 2. Ibid., pp. 349-50. 3. Ibid., p. 362. 4. Ibid., p. 351. 5. Ibid., p. 272. 6. SWIFf, Jonathan, A modest proposal for preventing the children of poor people from being a burthen to their parents and the country and for making them beneficial to the publick, Weaver Bickerton, London, 1700. 7. THACKERAY, op. cit., p. 272. 8. TA VE, Stuart M., The amiable : comic theory and criticism of the eighteenth and nineteenth centuries, University of Chicago Press, Chicago, 1960. 9. Ibid., p. vii. 10. GRANT, Mary A., The ancient rhetorical theories of the laughable: The Greek rhetoricians and Cicero, University of Wisconsin Studies in Lan• guage and Literature, no. 21, Madison, 1924. 11. Ibid., p. 14. 12. Ibid., p. 17. 13. Ibid., p. 13. 14. ARISTOTLE, De poetica, BYWATER, Ingram, (trans.), in W. D. Ross (ed.), The works of Aristotle translated into English, vol. XI, Oxford University Press, Oxford, 1946, 1449a, I. 34-5. 15. RArluACHARYA, Adya, Natyasastra (English translation with critical notes), Ibh Prakashana, Bangalore, 1986. 16. Quoted in SIEGEL, Lee, Laughing matters: comic tradition in India, The University of Chicago Press, Chicago and London, 1987, p. 13. 17. ABHINAVAGUPTA, commentary on Na.tya§astra, prose after 6.31, quoted in SIEGEL, op. cit., p. 21.

165 166 Notes and References

18. JANKO, Richard, Aristotle on : Towards a reconstruction of Po• etics 1/, Duckworth, London, 1984, p. 25. The translator's many paren• theses and caveats have been omitted here for the sake of clarity. Translator's footnote: 'Magnitude' in the sense of 'grandeur'. 19. Ibid., pp. 31-5. 20. Ibid., pp. 35-41. 21. BACON, Roger, Essay on discourse, quoted in GRANT, Mary A., op. cit., p. 8. 22. HOBBES, Thomas, Human nature, X, 13, in W. Molesworth (ed.), The English works of Thomas Hobbes, John Bohn, London 1840, vol. IV, p. 46. 23. HOBBES, Thomas, Leviathan, George Routledge and Sons Limited, New York, n.d., Part I, Chapter 6, p. 33. First published 1651. 24. TAVE, op. cit., p. 52. 25. Ibid., p. viii. 26. Ibid., pp. 43-4. 27. Ibid., p. 239. 28. CARLYLE, Thomas, Sartor Resartus, I, iv, in C. F. Harold (ed.), New York, 1937, p. 33, quoted in TAVE, ibid., p. 240. 29. TAVE, op. cit., p. 240. 30. Ibid., p. ix. 31. FUJII Takeo, Humor and in early English comedy and Japanese kyogen drama: a cross-cultural study in dramatic arts, KUFS Publica• tions , 1983, pp. 71 ff.. Fujii unfortunately omitted key sections from a number of the quotations. 32. SIDNEY, Sir Philip, Sidney's defence of poesie, C. J. Clay and Sons, London, 1904, p. 75. The spelling has been modernised. 33. SIDNEY, op. cit., pp. 41-2. 34. The Pilgrimage to Parnassus, in Parnassus: three Elizabethan , Clarendon Press, Oxford, 1886, p. 22. The spelling has been modernised. 35. SHAKESPEARE, William, Hamlet, Prince of Denmark, Act 3, Scene 2. 36. FORD, John, The prologue to The broken heart, published I 633, in Havelock Ellis, (ed.), John Ford, Charles Scribner and Sons, New York, 1888, p. 187. 37. The prologue to Lingua, a play first published in 1607 whose authorship is unclear. In The Tudor facsimile texts, FARMER, John S., ed., place of publication not given, 1913. Pages are not numbered. The spelling has been modernised. 38. WHETSTONE, George, The epistle dedicatory to Promos and Cassandra, in The Tudor facsimile texts, FARMER, John S., ed., place of publica• tion not given, 1910. Pages are not numbered. The spelling has been modernised. 39. Ibid., pages are not numbered. 40. SHAKESPEARE, op. cit., Act 2, Scene 2. 41. Ibid., Act 3, Scene 2. 42. Ibid., Act 3, Scene 3. 43. van LENNEP, William, The London stage, Southern Illinois University Press, Carbondale, Illinois, 1965, Part I, p. 100. Also, ROBERTS, David, The Ladies: Female patronage of Restoration drama, Clarendon Press, Oxford, 1989, p. 138. Notes and References 167

44. HUME, Robert D., "" and its audiences, in The rak• ish stage, Southern Illinois University Press, Carbondale and Edwardsville, I 983, pp. 46-81. This essay cites a number of previous discussions of the subject. The phenomenon was more complex than represented here. The objection to obscenity was only part of a major shift in taste, but it was an important part of the shift. 45. Ibid., p. 61. 46. ROBERTS, op. cit., p. 141. 47. Ibid., p.· 133. 48. Ibid., p. 135. 49. HUME, op. cit., p. 65. 50. Ibid., p. 78. 51. Ibid., p. 48. 52. ROBERTS, op. cit., p. 143.

3 Early Japanese Ideas of Humour

I. LIU Hsieh, (c. AD 465-522), Wen-hsin tiao-lung. SHIH, Vincent Yu-chung, The literary mind and the carving of dragons, Columbia University Press, New York, 1959. MEKADA Makoto (ed.), Bunshin chorya, in Bungaku geijutsu ron sha in Chagoku koten bungaku taikei 54, Heibonsha, , 1974. 2. Japanese: kaigyaku no kai. 3. Japanese: mina, everybody. In other words, the tsukuri, or right-hand element of the character meaning 'humour' is the character meaning 'every• body'. 4. SHIH, op. cit., pp. 79-80. 5. Ibid. 6. Ibid. 7. Ibid. 8. Ibid. 9. Ibid., p. 80. I 0. Ibid., pp. 82-83. II. Ibid. 12. PHILIPPI, Donald L. (trans.), Kojiki, Princeton University Press, Uni• versity of Tokyo Press, Princeton and Tokyo, 1969, p. 84. OZAKI Nobuo, (1917- ), Kojiki zenko, Kato Chodokan, Tokyo, 1966, p. I 04. 13. APTE, op. cit., p. 176. 14. SHOJD, (Buddhist monk), Shinsen jikyo kokugo sakuin, Daigaku Bungakubu Kokugogaku Kokubungaku Kenkyoshitsu, Kyoto, 1958. 15. Ibid., p. 14. Also quoted in OKAZAKI Yoshie, Okashi no honshitsu, in Bi no dento, Kobundo, Tokyo, 1940, p. 8, and in HISAMATSU Sen'ichi, Nihon bungaku shi - Sosetsu, nempyo, Shibundo, 6 vols., 1959-60, pp. 36-45, 87-91. There is an English version of these sections in McCULLOUGH, Helen (trans.), The vocabulary of Japanese literary aes• thetics, Centre for East Asian Cultural Studies, Tokyo, I 963. This latter work is a summary of several chapters of Hisamatsu's outline: op. cit., p. 91. 168 Notes and References

16. Nihon kokugo daijiten, op. cit., vol. I, p. 353. 17. SHOJO, op. cit., p. 14. 18. HISAMATSU Sen'ichi, op. cit.. 19. Hisamatsu divided Japanese history into periods that differed in very minor ways from the usual classification into Nara, Heian and so on. For the sake of simplicity, the more common scheme has been adopted. 20. OKAZAKI, op. cit., pp. 3-42. 21. The words warai and kokkei have been translated humour and jesting respectively throughout this discussion of Hisamatsu's ideas. 22. MOTOORI Norinaga, Okashi to wokashi to futatsu aru koto, in Tamakatsuma, in Nihon zuihitsu zenshu, Kokumin Tosho, Tokyo, 1928, vol. 1, p. 64. Quoted in Okazaki, op. cit., p. 4. 23. OKAZAKI, op. cit., p. 4. 24. HISAMATSU, op. cit., p. 37. 25. Ibid., p. 41. 26. Ibid. 27. McCULLOUGH, op. cit.. 28. OKAZAKI, op. cit., p. 9. 29. Ibid., pp. 27-36. 30. Ibid., pp. 33-4. 31. Ibid., pp. 34-5. 32. HISAMATSU, op. cit., p. 41. 33. OKAZAKI, op. cit., p. 9. 34. HISAMATSU, op. cit., p. 42. 35. No attempt has been made here to define yugen, which is at least as complex a concept as any of the others discussed here. The quotation is from , Shudosho, in OMOTE and KATO Shu, (eds.), Zeami. Zenchiku, in Nihon shiso taikei, vol. 24, Iwanami, Tokyo, 1974. 36. HISAMATSU, op. cit., p. 88. 37. KONISHI Jin'ichi, Nihon bungei-shi, Kodansha, Tokyo, 1985-7. KONISHI Jin'ichi, GATTEN, Aileen (trans.), A history of Japanese literature, Princeton University Press, Princeton, 1986. 38. KONISHI, op. cit., vol. I, p. 248. 39. GATTEN. op. cit., p. 448. 40. Ibid., p. 461. 41. SHIH, op. cit., pp. 79-83. 42. Nihon koten bungaku daijiten, Iwanami Shoten, Tokyo, 1984, vol. 4, p. 41. 43. See HISAMATSU Sen'ichi, Rizoku to 'yasashimi', in Nihon bungaku hyoron-shi, Obundo, Tokyo, 1935, vol. 2, pp. 1168-1182; also Shi no ga-zoku, in vol. 3. Soron. karon hen, pp. 340-6. See also Nihon koten bungaku daijiten, op. cit., vol. 4, pp. 41-2. 44. HISAMATSU, Nihon bungaku hyoron-shi, op. cit., vol. 2, p. 1170. 45. Nihon koten bungaku daijiten, op. cit., vol. 1, pp. 635-6. 46. Ibid., vol. 4, p. 44. 47. Ibid., vol. 1, pp. 635-6. 48. KONISHI, op. cit., vol. II, pp. 320-1; GATTEN, op. cit., pp. 285-6. This translation is based on Gatten's. 49. KONISHI, op. cit., vol. II, p. 123; (trans.) GATTEN, op. cit., p. 106. The Japanese is also unclear. Notes and References 169

50. KONISHI, op. cit., vol. I, p. 256. 51. ZEAMI Motokiyo, Shudosho, in OMOTE, op. cit., pp. 239-40. There is a also a translation in RIMER, J. T. and YAMAZAKI Masakazu (trans.), On the art of the No drama, Princeton University Press, Princeton, 1984, p. 170. 52. The editors, Omote and Kato (op. cit., p. 239), glossed the word shoku as hizoku, vulgar, coarse, broad, low, bad taste. 53. FURUKAWA Hisashi, Zeami no kyi5gen kan, in Kyogen no kenkyu, Fukumura Shoten, Tokyo, 1957, p. 9. 54. OKAZAKI, op. cit., p. 24. 55. OKURA Toraaki, SASANO Ken (ed.), Warambegusa, Iwanami Bunko, Tokyo, 1962. 56. Ibid., pp. 259-60. Toraaki used the word warai throughout this passage and appeared not to distinguish between laughter and smiling. Warai has been translated as smiling unless the context indicates otherwise: when tickled, one laughs, when exchanging civilities, one smiles, for example. 57. Ibid., p. 255. 58. Ibid., p. 256. 59. Ibid., p. 345. 60. Ibid., pp. 257-8. 61. Ibid., p. 256. This is a reference to the Chinese characters with which the word doke is written. 62. HISAMATSU, op. cit., p. 91. 63. Ibid., p. 88. 64. Quoted in ibid., p. 89. 65. Ibid., pp. 89-90. 66. Ibid., p. 90. 67. DUNN, Charles J., and TORIGOE Bunzo, (eds. and trans.), The actors' analects [Yakusha rongo], University of Tokyo Press, Tokyo, 1969. This includes both Japanese text and English translation. 68. Ibid., p. 54. 69. Toraaki, op. cit., p. 256. 70. For example, DUNN and TORIGOE, op. cit., Introduction, p. 24 and UEDA Makoto, Toraaki on the art of comedy: The making of the comic, in Literary and art theories in , The Press of Western Reserve University, Cleveland, Ohio, 1967, p. 108. 71. DUNN and TORIGOE, op. cit., pp. 81-3. 72. Ibid., p. 90. 73. Ibid., p. 72. 74. FURUKAWA, op. cit., pp. 9-10. 75. Toraaki, op. cit., p. 345. 76. For example, IIZA W A Tadasu, Gehin na kyogen, in Shibai. miru. tsukuru, Heibonsha, Tokyo, 1972, p. 27. 77. Ibid. 78. DUNN and TORIGOE, op. cit., p. 136. 79. Ibid. 80. ANON., Shogei kyojitsu no koto, in Dai Nihon eidai setsuyi5 mujinzo, HORI Gempo (ed.), third revised and enlarged edition, Kyoto, Osaka, Edo, 1849, ff. 96a-98a. (This article appeared for the first time in the edition of 1849). 170 Notes and References

81. Ibid. 82. DUNN and TORIGOE, op. cit. 83. BANDO Mitsugoro, kyo to jitsu, Tamagawa Daigaku Shuppanbu, Tokyo, 1968. 84. YOKOYAMA Toshio, Tourism, dandyism, and occultism: the quest for national identity in nineteenth century Japan, in Proceedings of the Brit• ish Association for Japanese Studies, Volume three: 1978, Part One: History and international relations, Centre of Japanese Studies, University of Sheffield, Sheffield, 1978, pp. 6 and 12. 85. ANON., Shogei kyojitsu no koto, op. cit. 86. Ibid. 87. Ibid. 88. Ibid. 89. Ibid. 90. YOKOYAMA Toshio, Jitsuyo hyakka no bummeigaku in Rikan asuteion, no. 7, Winter 1988, pp. 128-36.

4 Ideas of Humour in the Era

1. See MATSUMOTO Shinko, Meiji engeki ron shi, Engeki Shuppansha, Tokyo, 1980, p. 1, for original text and KOMIY A Toyotaka, Japanese music and drama in the Meiji era, KEENE, Donald, trans., Toyo Bunko, Tokyo, 1956, p. 189 for a different translation. Originally published in Shimbun zasshi No. 36 of March 1872. 2. MATSUMOTO, op. cit., p. 1. 3. See MATSUMOTO, op. cit., p. I, for original text and KOMIY A, op. cit., p. 188 for a translation. Originally published in Shimbun zasshi No. 40. This translation is partly based on Donald Keene's translation in Komiya. 4. Shogei kyojitsu no koto, op. cit.. 5. HASEGAWA Izumi and TAKAHASHI Shintaro, Bungei yoga no kiso chishiki 1985, Tobundo, Tokyo, April 1985, p. 132. 6. YANAGIDA Izumi, Meiji shin seifu bungei seisaku no ittan, in Okitsu, Kanami, ed., Meiji kaikaki bungaku shu, I, in Meiji Bungaku series, Chikuma Shobo, Tokyo, 1966-7, vol. 1, pp. 395-414. 7. Trans., KEENE, Donald, in Dawn to the west: Japanese literature of the modern era: fiction, Holt Rinehart and Winston, New York, 1984, p. 21. 8. For text see YANAGIDA Izumi, op. cit., p. 410. See also KEENE, Dawn to the west, op. cit., p. 22. 9. For text see YANAGIDA Izumi, op. cit., p. 411. 10. KANDA Kohei, Kokugaku o shinkyo subeki no setsu, in Meiji bunka zenshu, Nihon Hyoronsha, Tokyo, 1927-30, vol. 18, pp. 146-7. Origi• nally published in Meiroku zasshi, no. 18 of 1874. II. The kyogen of is what Toraaki referred to as okashi or the kyogen of no, and is now known simply as kyogen. 12. KANDA, op. cit., p. 147. 13. TSUBOUCHI Shoyo, Shosetsu shinzui, in YANAGIDA Izumi, 'Shosetsu shinzui' kenkyii, Meiji bungaku kenkya, vol. II, Shunjllsha, Tokyo, 1961. Notes and References 171

14. TSUBOUCHI, op. cit., p. 233. 15. Ibid., p. 231. 16. JIPPENSHA lkku, (1751-1831) Tokaido chil hizakurige, a kokkeibon about the adventures of two travellers along the Tokaido between Edo and Osaka, completed in 1809. Translated into English by Thomas Satchell as Shanks' mare, Tuttle, Tokyo, 1960. 17. TSUBOUCHI, op. cit., p. 232. 18. Ibid. 19. TOYAMA Masakazu, Engeki kairyo ron shiko. In Meiji bungaku zenshil, Chikuma Shobo, Tokyo, vol. 79, pp. 138-48. 20. Ibid., p. I 38. 21. Ibid., p. 139. 22. Ibid., p. 139. 23. Ibid., p. 139. 24. Ibid., p. 145. 25. Ibid., pp. 145-6. 26. SUEMATSU Kencho, Engeki kairyo iken, in Meiji bungaku zenshu, Chikuma ShoM, Tokyo, vol. 79, p. 108. 27. ONISHI Hajime, Kokkei no honsei, in Meiji bungaku zenshu, Chikuma shobo, Tokyo, vol. 79, pp. 169-175; Hiai no kaikan, in Meiji bungaku zenshu, Chikuma Shobo, Tokyo, 1969, pp. 175-81. 28. ONISHI, Kokkei no honsei, op. cit., p. 169. 29. Ibid., p. 172. 30. Quoted in Ibid., p. 180. 31. FUKUZA WA Yukichi and FUKUZA WA Ichitaro, Kaiko showa: Pleas• antries done from English into Japanese, Nikko Junsha, Tokyo, 1892. Preface in Fukuzawa Yukichi zensho, Iwanami Shoten, Tokyo, 1962, vol. 19, pp. 773-4. Also in IIZA WA Tadasu, (ed. and modern Japanese trans.), Meiji Ei-Wa taiyaku -shu: Fukuzawa Yukichi no Kaiko showa, Toyama Bo, Tokyo, 1986, p. 3. See also IIZA WA Tadasu, Joke no kosui - 'Kaiko showa' no jilyosei, [The joke advocate - the import• ance of 'Open mouthed funny stories'] in KATSURA Beicho (ed.), Warai, Nihon no mei-zuihitsu series 22, Sakuhinsha, Tokyo, 1984, pp. 115-23. 32. FUKUZAWA, op. cit., p. 189. 33. Ibid., p. 192. 34. Ibid., p. 220. 35. KIHARA Kentaro, A taxonomy of educational television programs in International exchange of educational television programs: Final re• port of a joint project undertaken by the National Institute for Educa• tional Research, National Institute for Educational Research, Tokyo, 1982, p. 21. 36. de BONO, Edward, The use of lateral thinking, Penguin, Harmondsworth, 1971. First published, 1967. 37. FUTO Sei, Shikitei Samba, in Waseda bungaku, December 1893, pp. 11-26. 38. Ibid., p. 13. 39. Ibid., p. 20. 40. Ibid., p. 20. 41. Ibid., p. 22. 172 Notes and References

42. Ibid., p. 25. 43. Ibid., p. 25. 44. OSADA ShlltO (Chllichi), Futsukoku engeki genjo, in Waseda bungaku, March 1894, pp. 26-44. 45. OSADA ShlltO (Choichi), Futsukoku kigeki, in Waseda bungaku, May 1894, pp. 53-70. 46. OSADA, Futsukoku engeki genjo, op. cit., p. 26. 47. Ibid., p. 27. 48. Ibid., p. 32. 49. Ibid., p. 33. 50. Ibid., pp. 34-5. 51. Ibid., p. 35. 52. Ibid., pp. 39-44. 53. La HARPE, Jean-Fran~ois, (1739-1803), French critic especially on the of Racine and Voltaire, see Lycee cours de litterature ancienne et moderne, (1799) F. Didot, Paris, 1840. 54. OSADA, Futsukoku kigeki, op. cit., p. 54. 55. Ibid. 56. MARMONTEL, Jean Fran~ois, Elemens de litterature, Vol. 2, in Oeuvres complettes (sic) de M. Marmontel Historiographe de France et Secretaire Perpetuel de l'Academie Franroise, Nee de Ia Roche, Paris, 1787, p. 173. 57. OSADA, Futsukoku kigeki, op. cit., p. 55. 58. WINSLOW, Ola Elizabeth, as a structural element in English drama from the beginning to 1642, University of Chicago Press, Chi• cago, 1926, p. x. 59. Toraaki, op. cit., p. 256. 60. Ibid., p. 54. 61. SUZUKI Tozo, Nihongo no share, Kodansha Gakujutsu Bunko, Tokyo, 1979. 62. HEARN, Lafcadio, The Japanese smile, in Glimpses of unfamiliar Japan, Charles E. Tuttle Company, Tokyo, 1976, p. 656. 63. Ibid., p. 667. 64. Ibid., p. 671. 65. Ibid., p. 678. 66. ANON., Sensa to engeki to, in Waseda bungaku, September 1894, p. 53. 67. Ibid. 68. Ibid., p. 52. 69. HATORI , 'Kindai Nihon bungaku no warai' shiron, in HIBBETT, Howard S., and HASEGAWA Tsuyoshi, Edo no warai, Meiji Shoin, Tokyo, 1989, pp. 269-336. Hatori is the correct reading of the name. 70. Ibid., pp. 294-6. 71. Ibid., pp. 274-5. 72. Ibid., pp. 296-7. 73. Ibid., p. 297. 74. Ibid., p. 298. 75. Ibid., p. 298. 76. Ibid., p. 299. 77. Ibid., p. 298. 78. Ibid., pp. 299-300. Notes and References 173

79. SHOYOSHI (probably pseudonym for Tsubouchi Shoyo), Kokkei, in Waseda bungaku, April 1895, pp. 79-80. 80. Ibid., pp. 79-80. 81. ANON., Yumoru to wa nan zo ya, in Taiyo, vol. 2, no. 7, May 1896, pp. 1782-3. 82. ANON., Kokkei moji, in Teikoku bungaku, July 1895, vol. 1, no. 7, pp. 138-9. This misprint appears fairly consistently throughout the article. 83. Ibid., p. 138. 84. Ibid., p. 139. 85. ANON., Yumoru to wa nan zo ya, Joe. cit.. 86. ANON., Kokkei shiisetsu, in Waseda bungaku, November 1897, pp. 125-7. 87. TSUBOUCHI Shoyo, Nani yue ni kokkei sakusha wa idezaru ka, in Waseda bungaku, Third series, no. 2, 3 November 1897, pp. 35-43, and its sequel, /kanaru hito ga mottomo yoku, in Waseda bungaku, Third series, no. 4, 3 January 1898, pp. 121-7. 88. TSUBOUCHI, /kanaru hito ga mottomo yoku, op. cit., p. 127. 89. TAKESUE Jiteki, Kigeki no seikaku to kingen bunshi, in Teikoku bungaku, December 1897, pp. 1234-49. 90. SHIMIZU Gyoro, Moliere no kigeki, in Yomiuri Shimbun, 10 April 1899, p. 5. 91. TAKESUE, op. cit., p. 1234. 92. Ibid., p. 1236. 93. Ibid., p. 1236. 94. Ibid., p. 1245. 95. Ibid., p. 1237. 96. Ibid., p. 1242. 97. Ibid., p. 1243. 98. Ibid., p. 1248. 99. SHAKESPEARE, William, A midsummer night's , Act V, Scene II. 100. HATORI, op. cit., p. 310. 101. Ibid., p. 300. 102. Ibid., p. 303. 103. Ibid., pp. 303-4. 104. Ibid., p. 304. 105. NAKAMURA Mitsuo, Nijusseiki no shiisetsu- warai no soshitsu- kindai Nihon bungaku no isseikaku, in Showa bungaku zenshii, Vol. 16, Kadokawa Shoten, Tokyo, 1953, pp. 204-23. 106. The term kusuguri 'tickle' is a performer's term for a gratuitous joke that is thrown in early in a performance to test the feeling of the house. 107. NAKAMURA, op. cit., p. 204. 108. HATORI, op. cit., p. 325. 109. TSUBOUCHI, lkanaru hito ga mottomo yoku, Joe. cit .. 110. HATORI. op. cit., p. 304. 111. ANON., Kokkei shosetsu, op. cit., p. 125. 112. SHIRAKA W A Nobuo, Meijiki ni okeru Moliere geki shokai no gempon ni tsuite, in Engekigaku, Tokyo, no. 7, March 1975, pp. 1-8. 113. TSUBOUCHI, Nani yue ni kokkei sakusa wa idezaru ka, op. cit., p. 36. 114. Ibid., p. 39. 174 Notes and References

115. Ibid., pp. 39-40. 116. Ibid., p. 40. 117. TAKESUE, op. cit., p. 1241. 118. SHIMIZU Gyoro, Moliere no kigeki, in Yomiuri Shimbun, 10 April 1899, p. 5; 17 April 1899, p. 5; 24 April 1899, p. 5; I May 1899, p. 5; 8 May 1899, p. 4; 15 May 1899, p. 5; 22 May 1899, p. 5; 29 May 1899, p. 5. This extract is from 15 May 1899, p. 5. 119. Ibid., 29 May 1899, p. 5. 120. Ibid., 10 April 1899, p. 5. 121. LEGRAND, Marc-Antoine, (1673-1728). Born Paris. Author and dramatist. HOLBERG, Ludwig, Baron Holberg, (1684-1754). Born Bergen, Nor• way. Under the pseudonym Hans Mikkelsen created an entirely new class of humorous literature, resulting in his being called 'The Moliere of the North'. Used stock characters and satire. In 1727 wrote Funeral of Dan• ish comedy. Closed his career as a dramatic poet with the publication in 1731 of his collected plays. BENEDIX, Julius Roderich, ( 1811-?). Born Leipzig. Actor, theatre manager, comic playwright. Collected dramatic works published Leipzig 1846-1851. CONGREVE, William, (1670-1729). English Restoration comic playwright. 122. SHIMIZU, Joe. cit.. 123. Ibid. 124. SHIRAKAWA Nobuo, op. cit., pp. 1-8. 125. SHIRAKA WA, Joe. cit.. 126. LESSING, Gotthold Ephraim (1729-1781 ). Born Saxony. Critic, aesthetician and comic dramatist. Attacked the rigidly traditional drama of Corneille and Voltaire. See RONFELDT, W. B., (trans.), Dramatic notes, in The Laocoon, and other prose writings of Lessing, Walter Scott Ltd., London, undated. 127. SHIMIZU, loc. cit.. 128. SHIMIZU, loc. cit.. 129. Nine anonymous articles between July 1895 and December 1897, plus two signed by Takesue Jiteki. 130. The reference is to TAKESUE Jiteki, whose article, Kigeki no seikaku to kingen bunshi, is discussed above. 131. SHIMIZU, Joe. cit.. 132. Ibid. 133. FIELDING, Henry, (1707-54). English comic novelist and playwright. Fielding published a number of adaptations of Moliere's plays, which were clearly acknowledged as adaptations. For example, The miser: a comedy taken from Plautus and Moliere, London, 1753 (= L'avare), The mock doctor or the dumb lady cur'd: a comedy done from Moliere, London, 1732. (= Le medecin malgre lui). 134. LAMB, Charles (1775-1834) and Mary (1764-1847), Tales from Shakes pear (sic), London, 1807. 135. SHIMIZU, loc cit.. 136. VOLTAIRE, Fran9ois Marie Arouet, (1694-1778). 137. SHIMIZU, op. cit., 17 April 1899, p. 5. 138. REGNARD, Jean-Fran9ois, (1655-1709). French playwright and poet. Le legataire universe[, a burlesque comedy in five acts, first played 9 January 1708. Notes and References 175

139. SHIMIZU, op. cit., 24 April 1899, p. 5. 140. Ibid., 1 May 1899, p. 5. 141. Ibid., 29 May 1899, p. 5. 142. SEKI Ryoichi, Shoyo, Ogai, Yoseido, Tokyo, 1971, pp. 54-5. Also KEENE, Donald, Dawn to the West, op. cit., vol. 1, pp. 98-9. 143. TSUBOUCHI, Nani yue ni kokkei sakusha wa idezaru ka, op. cit., p. 39. 144. TSUBOUCHI, Shosetsu shinzui, op. cit., p. 232. 145. TSUBOUCHI, Nani yue ni kokkei sakusha wa idezaru ka, op. cit., p. 39. 146. NATSUME Soseki, Bungakuron, in Soseki zensha, vol. 9, lwanami Shoten, Tokyo, 1966, especially Doke shumi, pp. 186-92, Futaiho: Fielding no Tom Jones, Sterne no Tristram Shandy, pp. 347-52, Kokkeiteki renso, pp. 290-304. Bungakuron was originally published in 1909. 147. The term 'sense of humour' is even now not common in Japanese, but the usual rendition is yumoa no kankaku, a literal translation of the English. Soseki used the term doke shumi (taste for the comic or clowning taste). 148. NATSUME Soseki, Doke shumi, op. cit., p. 186. 149. ANSTEY, F., Vice versa: a lesson to fathers, Smith, Elder and Co., London, 1883. 150. NATSUME Soseki, Doke shumi, op. cit., p. 186. 151. NATSUME Soseki, Kokkeiteki renso, op. cit.. 152. NATSUME Soseki, Futaiho, op. cit., p. 348. 153. STERNE, Laurence, Tristram Shandy, quoted in NATSUME Soseki, ibid., p. 351. 154. NATSUME Soseki, Futaiho, op. cit., p. 353. 155. KOMIY A Toyotaka, Bessatsu: kaisetsu in NATSUME Soseki, Kokkei bungaku, in Soseki zensha, vol. 16, I wanami Shoten, Tokyo, 1967, pp. 855-78. I 56. NATSUME Soseki, Kokkei bungaku, in Soseki zensha, op. cit., pp. 546-51. 157. Ibid., p. 548. I 58. Ibid., p. 548. 159. Ibid., p. 549. 160. Ibid., pp. 440-55 I. 161. KAWATAKE Shigetoshi, Nihon engeki zenshi, Iwanami Shoten, Tokyo, 1979, pp. 895-6. 162. (MASUDA) Taro Kaja, Kigeki ni tsuite, in Kabuki, Kabuki Hakkosho, March 1906, pp. 94-99. For ripostes to this essay, see ANON., Taro Kaja no kigeki-ron o yomite, in Teikoku bungaku, April 1907, pp. 548- 53. Also SHIBUSA WA Hideo, Taro Kaja no kigeki, in Nihon engeki, 3-2, 1945. 163. Taro Kaja, op. cit., p. 95. 164. Ibid., p. 96. 165. Ibid., p. 95. 166. Ibid., p. 96. 167. Ibid., p. 97. 168. ANON., Taro Kaja no kigeki-ron o yomite, op. cit., p. 549. 169. Ponchi-e means 'Punch-pictures'. The magazine Punch had a great in• fluence on cartooning in Meiji Japan. 170. Taro Kaja, op. cit., pp. 97-8. 176 Notes and References

171. Ibid., p. 98. 172. Ibid. 173. Ibid. 174. Ibid., p. 99. 175. Ibid., p. 99. 176. IN AKA Shosei, Kigeki 'The admirable Crichton' o mite, in Kabuki, June 1907, pp. 65-76. The play is by J. M. BARRIE, (1860-1937), Scottish playwright and novelist, best known for the play Peter Pan. 'The admirable Crichton' was first performed in 1902. 171. SHIMAMURA Hogetsu, (1871-1918), critic, novelist, playwright. A student of Tsubouchi Shoyo. 178. The Sandman Company has not been identified. At first, 'Inaka' re• ferred to it as the Bandoman kigekidan [], but at the end he referred to it as the Bandoman kompanii [company]. 179. INAKA, op. cit., p. 65. 180. Ibid., p. 66. 181. There is a footnote to the effect that last year (1906) the late Hanabusa Ryogai made an adaptation of Hogetsu' s outline and published it in Shinshosetsu under the title Heiminshugi, but 'Inaka' was of the opinion that it did very little justice to the original. 182. INAKA, op. cit., p. 66. 183. Ibid., p. 68. 184. Ibid. 185. Ibid., p. 69. 186. Ibid. 187. The Japanese is similarly affected. 188. Ibid. 189. Ibid., p. 75. 190. John Lough gives an account of the clean-up of the Parisian stage in the eighteenth century in Paris theatre audiences in the seventeenth and eighteenth centuries, Oxford University Press, London, 1957, pp. 1-44. The effect was similar to the London phenomenon, but the pro• cess and the reasons were different. 191. HEARN, Lafcadio, op. cit.. 192. FREUD, Sigmund, Der Witz und seine Beziehung um Unbewussten, first translated into English by A.A. Brill in 1916 as Wit and its relation to the Unconscious, and by James Strachey as and their relation to the unconscious, Penguin Books, Harmondsworth, 1976.

5 Ideas of Humour since the Meiji Era

1. NARUSE Mukyoku, Bungaku ni awaretaru warai no kenkya, Hnbunkan, Tokyo, 1917, pp. 3-4. 2. Ibid., pp. 36-8. 3. MEREDITH, George, On the idea of comedy and the uses of the comic spirit, Gresham Publishing Company, London, 1911. The lecture was first delivered at the London Institution on 1 February 1877, and pub• lished in the New Quarterly Magazine in April 1877 and as a mono• graph by Archibald Constable and Co., London, 1897. Notes and References 177

4. Ibid., p. 9. 5. Ibid. 6. Ibid. 7. Ibid., p. I 3. 8. KELLER, Gottfried, RYDER, Frank G., (trans.), The lost smile, in Gottfried Keller: Stories, Continuum, New York, 1982, pp. 190-270. 9. TSUBOUCHI Shiko, Kigeki kenkya yoteki, in Waseda bungaku, Sep- tember I 923, pp. 56-61. I 0. Ibid., p. 51. I I. Ibid., pp. 51-2. I 2. Ibid., p. 55. I 3. Ibid., p. 52. I 4. Ibid., p. 52. I 5. Ibid., p. 55-6. I 6. Y ANAGITA Kunio, Warai no bungaku no kigen, in Fuko naru geijutsu, Chikuma Shobo, Tokyo, 1967, pp. 120-49. Originally published in Chao koran, March I 927. 17. Ibid., p. 122. 'for explaining it to them' was setsumei shite yaru. Yaru is a condescending auxiliary verb which expressed his exasperation. Had he wished to make a neutral statement he could have written setsumei suru. 18. YANAGITA, op. cit., YANAGITA Kunio, Warai no kyoiku- Rigen to zokushin to no kankei -, in Fuko naru geijutsu, Chikuma Shobo, Tok• yo, 1967. Originally published in Kitayasugumo-gun kyodoshi ko daiyon henjo, August I 932. [Preface to Manuscripts in the local history of Kitayasugumo Village, fourth issue]. YANAGITA Kunio, Warai no hongan, in Teihon Yanagita Kunia shu, vol. 7, Chikuma Shobo, Tok• yo, I 964. Originally published in Haiku kenkya, April I 934. BERGSON, Henri, Le rire, Quadrige/Presses Universitaires de France, Paris, I 940. Trans. HAYASHI, Tatsuo, Warai, Iwanami Shoten, Tokyo, February 1938. I 9. The Master of Ceremonies at a banquet has the responsibility of ensur• ing that the banquet ends with a laugh. Either he chooses to conclude it at a moment when the guests are laughing, or else he ensures that there is a laugh-line at the moment of his choice. 20. JIPPENSHA Ikku, Hizakurige, see footnote 16 chapter 4. 21. YANAGITA, Warai no bungaku no kigen, op. cit., pp. 139-40. 22. SIDIS, B., The psychology of laughter, D. Appleton and Co., New York and London, 1913. 23. YANAGITA, Warai no bungaku no kigen, op. cit., p. 148. 24. Ibid. 25. IIZAWA Tadasu, Buki to shite no warai, Iwanami Shoten, Tokyo, 1977. 26. KISHIDA Kunio, no kindaisei, in Gendai engekiron, Hakusuisha, Tokyo, I 950, pp. 357-9. Article dated December I 928. 27. RIMER, J. Thomas, Toward a modern Japanese theater, Princeton Uni• versity Press, Princeton, 1974. 28. Ibid., pp. 142-3, (Rimer's translation). KISHIDA Kunio, Shingekikai no bun 'ya in Kishida Kunia zensha, Shinchosha, Tokyo, 1955, vol. 8, p. 219. 178 Notes and References

29. Ibid., p. 143. (Rimer's translation). KISHIDA, Gendai Nihon no engeki in KISHIDA, op. cit., p. 342. 30. Ibid., pp. 143-4. FUKUDA Tsuneari, Kishida Kunia ron, in KISHIDA, ibid., p. 405. (Rimer has p. 404). 31. SAKAGUCHI Ango, Pierrot dendosha, in Sakaguchi Ango zensha, vol. 14, Chikuma Bunko, Tokyo, 1990, pp. 13-16. First published in Aoi uma, special edition entitled Essays, 1 May 1931. SAKAGUCHI Ango, FARCE ni tsuite, in Sakaguchi Ango zensha, vol. 14, Chikuma Bunko, Tokyo, 1990, pp. 17-32. First published in Aoi uma no. 5, 3 March 1932. 32. SAKAGUCHI, Pierrot dendosha, op. cit., p. 13. 33. Ibid., p. 13. 34. Ibid., p. 14. 35. Ibid., p. 14. 36. Ibid., p. 16. 37. YANAGITA, Warai no kyoiku- Rigen to zokushin to no kankei -, op. cit., pp. 166-80. 38. Ibid., p. 167. 39. Ibid., p. 169. 40. Ibid., p. 170. 41. Ibid., p. 171. 42. Ibid., p. 172. 43. Ibid., p. 173. 44. Ibid., p. 174. 45. ENGEKI HAKUBUTSUKAN (ed.), Kokugeki yoran, Azuki Shoba, Tokyo, 1932. 46. Ibid., p. 408. 47. YANAGITA, Warai no hongan, op. cit., pp. 150-65. 48. Ibid., p. 161. 49. Ibid., p. 150. 50. Ibid., p. 153. 51. Ibid., p. 154. 52. Ibid., p. 158. 53. Ibid., p. 159. 54. Ibid., p. 161. 55. Ibid., p. 163. 56. For example, Bungaku, August 1938, pp. 107 (= 243) and 36 (= 172). Bungaku had a dual pagination system and all references below give both page numbers. 57. HONDA KenshO, Gendai bungaku ni okeru warai, in Bungaku, August 1938, pp. 105-6 (= pp. 241-2). 58. TSUBOTA Joji, Kaze no naka no kodomo, a novel made into a film in 1937, directed by Shimizu Hiroshi and distributed by Shochiku. 59. HONDA, op. cit., p. 109 (= p. 245). 60. Ibid., p. 106 (= p. 242). 61. Ibid., pp. 106-7 (= pp. 242-3). 62. Ibid., pp. 109-10 (= pp. 245-6). 63. OTA Masao, Warai, in Bungaku, August 1936, p. 36 (= p. 172). 64. Ibid., p. 37 (= p. 173). Notes and References 179

65. Ibid., p. 39 (= p. 175). 66. Ibid., p. 1 (= p. 137). The words used are itashikata ga nai. Itasu, being a humble verb, needs to be translated in the first person. 67. Ibid., p. 2 (= p. 13R). 68. Ibid., pp. 3-4 (= pp. 139-40). 69. Ibid., p. 5 (= p. 141). 70. Ibid., pp. 5-6 (= pp. 141-2). The tense of this paragraph is as repre• sented here. It begins with rakugo, continues in the present tense giv• ing the impression that it refers to the present day, and ends in the past tense with the ladies of the Heian court. 71. Ibid., pp. 6-9 (= pp. 142-5). 72. Ibid., pp. 10-11 (= pp. 146-7). 73. This passage is equally obscure in the original. Warawashitai is a com• plex pun. It was a troupe of performers who went to the front to enter• tain the Japanese troops. The word warawashitai means 'I want to make you laugh', but it is written with the characters for LAUGHTER, EAGLE and (MILITARY) UNIT. Another word, written with the character ARAI instead of the character W ARAI, and read shojutai, means 'fierce eagle unit' or 'air ace squadron'. It seems that warawashitai, which could also be read as a homophone, shojutai, is a pun on this word. 74. Ibid., p. II (= p. 147). 75. Ibid., p. 12 (= p. 148). 76. LIN Yutang, Memoirs of an octogenarian, Mei Ya Publications Inc., Taipei and New York, 1974, p. 87. 77. LIN Yutang, The little critic: A reply to Hirota in pidgin, in The China critic, VIII, 31 Shanghai, January 1935, pp. 112-13; The little critic: Hirota and the child- A child's guide to Sino-Japanese politics, in The China critic, VIII. Shanghai, 14 March 1935, pp. 255-6; Hirota ex• plains Sino-Japanese relations to his son: A dialogue in The China weekly reader, LXXII, Shanghai, 23 March 1935, p. 124. 78. LIN Yutang, Memoirs of an octogenarian, op. cit., pp. 88-9. 79. LIN Yutang, The importance of living, Reyna! & Hitchcock Inc., (A John Day Book), New York, 1937. LIN Yutang, (RIN Godo), (SAKAMOTO Masaru trans.), Seikatsu no hakken, Sogensha, Tokyo, 1938. 80. WATANABE Shoichi, in LIN Yutang, (RIN Godo ), Jinsei o ika ni ikiru ka, (SAKAMOTO Masaru trans.), Kodansha Gakujutsu Bunko, Tokyo, I 979, (2 vols.), vol. 1, p. 4. 81. LIN, ibid., p. 14 in the 1938 Japanese edition, p. 43 in the 1979 Japanese edition and pp. 7-9 in LIN Yutang, The importance of living, William Heinemann, London and Toronto, 1941, first published May 1938. 82. Ibid., p. 6, and p. 14 in the 1938 Japanese edition. 83. p. 8 in the 1938-41 Heinemann edition. 84. This appears to be a reference to Shikitei Samba's kokkeibon Ukiyodoko [The world at the barbershop] (1813-14) and Ukiyoburo [The world at the bath house] (1809-13). 85. LIN Yutang, The Chinese and the Japanese, in With love and , John Day Company, New York, 1940, pp. 30-1. 86. HIGUCHI Kiyoyuki, Warai to Nihonjin, no. 9 in Nihonjin no rekishi series (12 vols), Kodansha, Tokyo, 1982, p. 242. 180 Notes and References

87. ODA Shokichi, Warai to yumoa, Chikuma Bunko, Tokyo, 1986, pp. 287-8. 88. Y ANAGITA Kunio, Warai no hongan, op. cit.. 89. Dajare kusuguri means literally 'pun tickle'. A kusuguri is a rakugo performer's trick. It is a gratuitous joke that he throws into his patter early in his performance to test the mood of the audience. 90. Y ANAGITA Kunio, Jijo in Yanagita Kunia zenshu, vol. 9, Chi kuma Shobo, Tokyo, 1990, pp. 9-10. 91. YANAGITA Kunio, Nazo to kotowaza, in Teihon Yanagita Kunia shu, vol. 21, pp. 147-148. First published in Kyoiku kaizo, nos. 2-4, Sep• tember 1946. 92. The reference is to rakugo. 93. KANEKO, Norbert N. (Noboru), The old Japanese humor, World In• formation Service, Tokyo, 1949, p. 63. 94. MICHENER, James A., Sayonara (sic.), Corgi Books, London, 1988. First published 1954. 95. MICHENER, op. cit., p. 115. 96. UNITED STATES, Japan, friend and ally, Troop Information Section, Far East Command, Tokyo, 1952. 97. BRITISH COMMONWEALTH OCCUPATION FORCES, Know Japan, The Rodney Press, South Yarra, Melbourne, February 1946. 98. UI Mushu, Nihonjin no warai: warai ni miru Nihonjin no kodai kankaku, Kadokawa Shoten, Tokyo, 1969, p. 9. 99. Ibid., p. 20. 100. Ibid., p. 25. 101. IIZAWA Tadasu, Nihon no kigeki, in Shibai. miru. tsukuru, Heibonsha, Tokyo, 1972, pp. 64-70. I 02. IIZA WA Tadasu, lizawa Tadasu kigekisha, (6 vols.), Miraisha, Tokyo, (vol. 6 published 1970). 103. Plays dealing with the lives of ordinary people are called sewamono [gossip pieces]. They were frequently based on sensational but real events. These are usually contrasted with jidaimono [period pieces] and shosagoto [dance pieces]. I 04. IIZA W A, Nihon no kigeki, op. cit., p. 66. 105. Luis Frois, S. J., 1532-97. 106. UESUGI Yozan, 1751-1822. 107. IIZAWA, Nihon no kigeki, op. cit., pp. 66-7. 108. Ibid., pp. 67-8. 109. Ibid., p. 68. II 0. Ibid., p. 69. Ill. Ibid., p. 69. 112. HUIZINGA, Johan, Homo ludens: a study of the play element in cul• ture, Beacon Press, Boston, 1955. 113. IIZA WA, Nihon no kigeki, op. cit., p. 70. 114. WU, John C., The real Confucius, in T'ien hsia monthly, no. I, Shanghai, August 1935, pp. I 1-20 and 180-9, Library of Congress microfilm. I 15. KAWASHIMA Jumpei, Nihon engeki hyakunen no ayumi, Hyoronsha. Tokyo, 1972, pp. 45-7, 159-88. Notes and References 181

116. FUKUSAKU Mitsusada, Nihonjin no warai, Tamagawa Daigaku Shuppanbu, Tokyo, 1977, p. 4. 117. Ibid., p. 29. 118. OTA, op. cit., p. 36 ff. 119. ODA, op. cit., pp. 296-8. 120. SHIGEY AMA Sennojo, Kyogen yakusha: hinekure handaiki, Iwanami Shinsho no. 396, Tokyo, 1987. 121. AKITA Minoru, Osaka showashi, Hensho Kobo no A, Osaka, 1984. 122. SHINNO Shin, Sho hodo suteki na shiJbai wa nai, Kobe Shimbun Shuppan Centre, Kobe, 1983. 123. ASO Isoji, Kokkei bungaku ron, Tokyo University Press, Tokyo, 1954; ASO Isoji, Warai no bungaku: Nihonjin no warai to seishin-shi, Kodansha's New Library of Knowledge, Kodansha, Tokyo, 1969; ASO Isoji, Warai no kenkya: Nihon bungaku no sharesei to kokkei no hattatsu, Tokyodo, 1947. 124. ODA Shokichi, Nihon no yumoa, (3 vo1s.), Chikuma Shobo, Tokyo, 1986-8. 125. UNO Nobuo, Warai no tanebon, Heibonsha, Tokyo, 1982. Warai no tane is a conventional phrase meaning funny stories. 126. TSUYU no Goro, zetsubanashi, Goma Shobo, Tokyo, 1974. 127. IZAKI Masao, Hito o waraseru jutsu: subete ni masaru buki, Playbooks, Seishun Shuppansha, Tokyo, 1963. 128. ATODA Takashi, Yamoa ningen: ichinichi iclzigon: shareta kotoba to paradox no izumi, Wani Bunko, Tokyo, 1984. 129. UMEHARA Takeshi, Warai no kozo: kanjo bunseki no kokoromi, Kadokawa sensho, Tokyo, 1972; FUKUSAKU Mitsusada, op. cit.; HIGUCHI op. cit.. 130. YAMAGUCHI Masao, Doketeki , Chikuma Bunko, Tokyo 1986; Doke no minzokugaku, Chikuma Shobo, Tokyo, 1984; Warai to itsudatsu, Chikuma Bunko, Tokyo, 1990. 131. NOMURA Shogo, Hito wa kaku warau: slzogaku dai ippo, Omiya Shobo, Kyoto, 1994. 132. HIBBETT, HowardS. and HASEGAWA Tsuyoshi, op. cit.. 133. APTE, op. cit., pp. 29-66. 134. T AVE, op. cit., p. ix. Bibliography

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Abhinavagupta I 0 seventeenth to nineteenth abstract, intellectual comedy 63 century 19 abuse 9 twentieth century II 0 Admirable Crichton, The, in brutal humour see cruel humour Yokohama 101-3 Buddhism 51, 68 admiration 62 Bunshin choryii 20-1, 30, 32 Age lasts Ill, 113 burlesque 50, 124, 125 aggression 105, 106, 159, 160, 161-2 Byron, Lord 67 Akita Minoru 155 allied occupation 142-5 Calderon de Ia Barca, P. 124 amiable humour 13, 15, 106, 110, Canada 141 159, 160 Carlyle, Thomas 14 ancient Greece 9, 10, 12, 19, 75, Carroll, Lewis 89, 134 107, 110 chaban genre 20, 49, 53, 54, 55, anti-frivolity 43-6 61' 78-9, 115 anti-woman humour 153 Chaplin, Charles 63 Apte, Mahadev L. 4, 24, 158 Chaucer, G. 90 Aristophanes 11, 61, 83 Chikamatsu Monzaemon 44, Aristotle I 0, 12, 16, 24, Ill 114 Asakusa Opera 130 children's humour 160 Aso Isoji 155 Chilon of Sparta 9-10 Atoda Takashi 155 China 20, 22, 32, 139-40 Augustine, Saint 60 chonin 89 Australia 141, 160 Chuang of Ch'u, King 22 Cleobulus 10 Bacon, Roger 12 clowning 15-16, 17, 34, 35, 39, Bain. Alexander 55 41' 42, 66, 68 Ban Nobutomo 25, 27, 62 Cocteau, Jean 127 Bando Mitsugoro 43 comedy 2, 53-5, 123-7 banter 158 and reform in theatre 47-9 Barrie, J. M. 89, 101-3, 134 and tragedy 60 Basho 114. 131 comic novels 77, 133 bawdiness 18, 47, 51 comic theory see kabuki; Okura Bergson, Henri 117, 132, 135 Toraaki; Zeami Mokokiyo Bernard, T. 124 concrete comedy 63 blasphemy 9 Confucius/Confucianism 30, 46, Bono, Edward de 58 51, 86, 88, 97, 149, 152 Bossuet, J. B. 60 Congreve, W. 84 Britain and the English containment 106-8, 116, 152, language 32, 34, 51, 89, 91, 153-4, 157, 158, 161, 163 106. I 15, 141, 161 controversy 8-9 ethics of humour 5-6, 8, 12, 15, Cowper, W. 67, 72-3 17, 18 criticism, reaction to 116-17

189 190 Index cruel humour 2, 7, 9, 86-7, 153 tradition 9-15 culture, values of 114-16 see also morality Europe 54, 60, 75, 76, 88, I 05, daikagura genre 44 115, 116 Dante 114 early ideas of humour 35 definition of humour 3-4 ethics of humour 8, 9, 12, 17 deformity see ugliness expurgation 107 Democritus I 0 farce 63 dengaku genre 44 inferior humour 94 denial of humour 40-1 northern and southern desire for humour 130-2 styles 125 desolate humour 102 philosophy and aesthetics 55 Dickens, Charles 50, 68, 134 poetic devices 56 diminutives II scientific view of humour I I 0, 111 Doomsday theory II 0-14 tragedy/comedy dichotomy 149 double entendre 18 excision 105, 157, 163 expurgation 106-8. 152-4, 157, early ideas of humour 20-46 160, 161, 163 against frivolity 43-6 denial of humour 40-1 farce 63, 123-7, 128 Edo concept of kokkei 35-9 Fechner, Gustav Ill first comedy performance 23-4 Fielding, Henry 13, 59, 86 Heian concepts of okashi and film 130 omoshiroshi 25-8 first comedy performance 23-4 kabuki and comic theory 38-40 Fletcher, John 17 Liu Hsieh 20-3 France 17, 60, 115, 125 okashi as comedy 29 Freud, Sigmund I, I 07 Okura Toraaki and comic Freudian slips II theory 33-5 Frois, Luis 149 Shinsen Jikyo (dictionary) 24-5 Fujii Takeo 15 vulgar and the refined (zoku and Fukuda Tsuneari 126-7 ga) 30-1 Fukuoka Yagoshiro 38 vulgarity and obscenity 41-3 Fukusaku Mitsusada 154, 155 Zeami Mokokiyo and comic Fukuzawa Yukichi joke-book 57-8 theory 32-4 funny (okashi wokashi) 25, 26, Edo concept of kokkei 35-9 27, 28 education by laughter 128-9 Furukawa Hisashi 33, 40, 41 elegant humour (okashi) 25, 26, Futabatei Shimei 75 27, 38 see also refined ga 81 Emerson, R. W. 55 games, sport and humour 158-62 enigmas 22, 23 Germany 86, 115, 139-40 ethics of humour 36 gesaku 44, 59, 61, 69, 70, 77, controversy 8-9 132, 135, 137 Meiji era 79-81, 86-9, 91, 94, linguistic humour 63 I 04-9 passim morality 48 obscenity 15-19 nonsensical 45 post-Meiji era 146. 153, 157-61 obscenity and victim passim humour 105 Index 191

Gilbert, Sir William 89 Janko, Richard 10-11 Girodoux, Jean 154 Japanese Smile, The 64-5 Goethe, J. W. von 111,112, 114 Jerome, Jerome K. 134 Gogo!, N. V. 124 jesting 21, 23, 36, 39, 50, 55, 88 grace (yiigen) 29, 32, 41 aesthetic qualities 26, 28 Grant, Mary A. 9, 19, 156 burlesque 124 Greece 115 disparaged 22 expurgation 153 haikai 37, 130, 131 kyogen 35 Hamlet 16, 17, 56, 62, Ill okashi 29, 33 Hatori Tetsuya 66, 75-8 sabi and karumi 37 Hayashi Tatsuo 132 Jippensha Ikku 50, 118 Hearn, Lafcadio 64-5, 106, 116, jokes 22, 50, 52, 53, 56, 57, 88 118, 141 see also practical Hegel, G. W. F. 82 Joking Relationships 158 Heian concepts of okashi and JOno Arindo 48 . omoshiroshi 25-8 joruri genre 44 Hibbett, Howard S. 156 61-4, 80, 89 kabuki 38, 65, 96, 130, 150, 154 Higuchi lchiyo 76 classic (koten) and gossip (sewa) Higuchi Kiyoyuki 141-2, 155 dichotomy 148 Hiraga Gennai 119 clowning 34 Hisamatsu Sen'ichi 25-9, 35-6, and comic theory 38-40 37, 132 complex plots 53 history of the idea of humour 8 lewdness 47 Hizakurige 53, 54, 55, 59, 66, 68, Merchant of Venice, The 70 118 vacuity 44 Hobbes, Thomas 12-13, 14, 55, vulgarity 42-3, 51, 52 90, Ill, 120 Kamitsukasa Shoken 133 Holberg, Baron L. 84 Kanagaki Robun 48 Honda Kensho 133, 134, 135, 141 Kanda Kohei 49 horseplay 158 Kaneko Kichizaemon 39 Huizinga, Johan 151 Kaneko Noboru 144 Hume, Robert D. 18 Kant, Immanuel 82, Ill humour debate 59-61 kanzen choaku 48-9, 61, 96 hypergelasts 111, 112, 113 karukuchi (comedy patter genre) 20, 78, 79, 90, 144 Ibsen, H. 125 Kawakami Otojiro 65, 78 Ibuse Masuji 128, 133 Kawashima Jumpei 154 Ichitaro Yukichi 57 Keller, Gottfried 111, 112, 113-14 Iizawa Tadasu 41, 121, 148-54 Keppenaha lkku 59, 68, 69 passim Ki no Tsurayuki 31 Ikumi Kiyoharu 123 kigeki 79, 114, 123, 130, 148 Inaka Shosei 101 Kishida Kunio 123-7 incongruity 14, 26, 91-2 Koda Rohan 76 innuendo 11 Konishi Jin'ichi 30, 31, 32 irony 9, Ill Kukai (Kobo Daishi) 20-1 ltaly 17, 115 kyogen genre 33, 35 Izaki Masao 155 comedy technique I 00 192 Index kyogen genre cont. Marceau, Marcel 63 duration of plays 118 Marmontel, J. F. 61, 63 early ideas of humour 20, 29, Massinger, Phillip 17 34, 45 Masuda Taro Kaja 130 indecency 41 Matsui Shoo 84 low comedy 40 Matsui X 84 Meiji era 55. 63, 68, 78, 79, 90 Matsumoto Shinko 47 and no dichotomy 148 Matsunaga Teitoku 36-7 post-Meiji era 114, 119, 130, 149 Matsuo Basho 37 respectability 42-3, 49 Maupassant, Guy de 95 scientific analysis Ill Meiji era 47-109 Taro Kaja 96 Admirable Crichton, The, in Toraaki 108 Yokohama 101-3 vulgarity 32 comedy and reform in theatre 47-9 La Harpe, J. F. de 60 comedy and tragedy (komejii and Lamb, Charles and Mary 70, 86, 88 torazejii) 53-5 laughter containers within early ideas of humour 24, 28, containers I 08-9 33, 41 expurgated and contained ethics of humour 14 humour I 06-8 Meiji era 67, 71-3, 80, 91, Fukuzawa Yukichi joke- 99-100 book 57-8 post-Meiji era 111-12, 118, high and low comedy Uoryu no 119, 120, 127, 148, 149, 150, kokkei and karyu no 154 kokkei) 61-4 rules of humour 4 humour debate 59-61 Lear, Edward 89, 134 Lafcadio Hearn and The Japanese Leigh, Richard 17 Smile 64-5 Lessing, Doris 84, Ill loss of humour 75-9 lewdness 47, 87 Natsume Soseki 90-2; and Lin Yutang (Rin Godo) 138-42, future of humorous 144, 145 literature 92-5 linguistic humour 63, 118, 120-1 new conventional wisdom Liu Hsieh 20-3 68-71 loss of humour 75-9 Onishi Hajime 55-7 low comedy 61-4 Shimizu Gyoro 82-6 Takesue Jiteki (Takei, Mr) 73-5 Macbeth 56 Taro Kaja (Masuda Taro) McCullough, Helen Craig 26 96-100 malapropisms 11 Toyama Masakazu 51-3 malicious humour 15 Tsubouchi Shoyo 79-81; and mamezo genre 20 characters of modern Mann, Thomas Ill humourists 66-7; on genre (stand-up comedy or humour 49-51; and sketches) 20 psychology of humour Meiji era 61, 78, 79, 90 71-3 post-Meiji era 136, 137, 144, Menander 17 150, 154 Mencius 86 Index 193

Meredith, George II I. 113 Meiji era 50-4, 61, 69, 80, 104-6 Methodism 18, 51 post-Meiji era 124, 125, 153 Michener, James A. 144-5 Oda Shokichi 142, 155 middle comedy 12 Ogawa Nobutoshi 31 Miki Toriro 151 Oka Hakku 2I militarism and humour 132-8 Okazaki Yoshie 25, 26-7, 28, 3I, Minami Kyosei 60 35, I32 Misogelasts I I I, 113 Okura Toraaki and comic mockery 21 theory 33-5 Moliere 59, 60, 79, 82, 83, 84, old comedy I2 Ill, 115, 154 omoshiroshi 25-8 bourgeois gentilhomme, Le 85 Onishi Hajime 55-7 burlesque 124 Osada Chliichi (Osada Shuto) Fielding's translations 86 59-60, 6I L'avare 71, 88 Ota Masao I35, I54 moral humour 95 outline of Japanese theatre I30 morality 18 Ozaki Koyo 75, 76, 84, 97 Meiji era 48, 51, 86-7, 90, 96-8 parody 11 post-Meiji era 113, 119 pathos 62, I 03 see also ethics physical and visual comedy 63 Mori Gengen 31 Plato 10, 55 Motoori Norinaga 25, 26 Plautus 17 Murata Harumi 31 post-Meiji era II 0-62 allied occupation 142-5 Nakamura Mitsuo 76-7 criticism, reaction to 116-I7 Naruse Mukyoku ll0-11, 113, desire for humour 130-2 114, 115 dilemma of values 122-3 Natsume Soseki 75, 77, 78, 90-2, Doomsday theory 110-14 104, 122, 132 education by laughter I28-9 and the future of humorous games, sport and humour literature 92-5 158-62 nature of humour 8 Kishida Kunio on farce and negative aspects of humour 12, comedy 123-7 36 Lin Yutang (Rin Godo) 138-42 new comedy 12 militarism and humour 132-8 new humour debate 146-56 new humour debate 146-56 Nihonjinron genre 146 outline of Japanese theatre 130 niwaka genre 20, 61, 78, 79, 90, rules of humour 156-8 155 Sakaguchi Ango 127-8 no theatre 29, 32, 34-5, 40, 41 twentieth century, humour debate Meiji era 68, 105, 108 in 110 post-Meiji era 148 values of Japanese culture nonsense 44-5 114-16 victims of humour 117-21 obscenity practical jokes 91-2 early ideas of humour 40, professionalised humour 157-8 41-3 proverbs 129 ethics of humour 9, 15-19 psychology of humour 71-3 194 Index puns II, 56, 91, 94 Shakespeare, William 59, 74, 85, Puritanism 51 86, 111, 112, 114 burlesque 124 quiet humour 105 clowning 66 high and low comedy mix 62 Rabe1ais, F. 113, 124 King Henry IV 90 rakugo genre 20 Merchant of Venice, The 79 Meiji era 61, 78, 79, 90, 99 sad/humorous mix 76 post-Meiji era 119, 136, 137, tragedies 79 150, 154, 157 Shaw, George Bernard 89, 124, redundancy ll 134 refined (ga) 30-1 Shigeyama Sennojo 155 Regnard, J. F. 87 Shiktei Samba 59 renga 36, 130-1 Shimamura Hogetsu 101-3 repetition 11 Shimizu Gyoro 73, 82-6 20, 130 shimpa 130 Richepin, Jean 60 shinkigeki genre 20, 78, 79, 123, Richter, Jean-Paul 14, Ill 151 riddles 22 Shinno Shin 155 ridicule 9, 22, 129, 160 Shinsen Jikyo (dictionary) 24-5 Rimer, J. Thomas 125-6 Shinto 51, 131 ritual humour 24 Shoju 24 Roberts, David 18 Sidney, Sir Philip 15 Roheim, Geza 120-1 Siegel, Lee 10 Romain, Jules 124 52 Romans 9, 19, 107, 110 smiling 32, 33-4, 91, 118, 120 Rostand, E. 124 Smith, Adam 13 rules of humour 1-4, 15, 65, 81, socially acceptable humour 156-8, 161, 163-4 standard 13 definition 3-4 Soganoya Goro 78 Sorinshi (Chikamatsu sad humour 103, 128 Monzaemon) 68, 69. 70 SaitO Hikomaro 31 Spain 17 SaitO Ryokif 76 Spencer, Herbert 55 Sakaguchi Ango 127-8 stock characters 16 Sakata Tojifro 39, 42, 53 strip comedy 20 Sanscrit 10 stupidity 62 saru mawashi genre 20 Sudermann, H. Ill satire 7, 9, 16, 22, 80, 102, 103, Suematsu Kencho 53-5 111, 126 sumo 44 sarcastic 129 superiority theory 14, 120, 127 Scarron, P. 124 Suzuki Tozo 63 scatalogy 104 Swift, Jonathan 7, 8, 67, 72-3 Schiller, J. 55, 111 Schopenhauer, A. 55, 111 Tachibana no Moribe 31 science 110-11 Takesue Jiteki (Takei, Mr) 73-5, Sekine, Mr 59 76, 81, 82, 85 sexual humour 18, 104, 1 i8, 120, 121 Takizawa Bakin 48 Index 195

Tanaka Michimaro 25 uniqueness 146 Taoism 46 United States 141 Taro Kaja (Masuda Taro) 96-100, Uno Nobuo 155 115 Tave, Stuart M. 8, I 3, 14, 15, I 9, vacuity 43-6 156, 160 values, dilemma of 122-3 Terence, P. T. A. I 7 20 Thackeray, William Makepeace victim humour 12, 50, 105, 5-6, 7, 8, 12, 68, 134 117-21, 130 theory of humour 9, 54 Victorian era 18 tickle comedies 77 Victorian morality 51 Tokugawa leyasu 149, 152 Villon, F. 124 Toraaki 38-42 passim, 47, 62, 76, Voltaire, F. M. A. de 60, 87 105, 108, 122 vulgarity Toyama Masakazu 51-3 avoidance 39-40 tradition 9-I 5 early ideas of humour 28, tragedy (torazejii) 53-5 30-1, 32, 33, 36, 37, 38, 40, Tsubota Joji 133 41-3 Tsubouchi Shiko I 14, I 15, I 16, 141 elimination 34 Tsubouchi Shoyo 58, 74, 79-81, ethics of humour I 0, I 5-16, I 7 108,114,122,130 Meiji era 50, 51, 53, 57, 61, articles on comedy 82 62, 66, 80, 94, l 00 and characters of modern post-Meiji era 120, 124, 125, 66-7 136, 143, !54 difficulty of comedy 95 ethics of humour 8 I, 86, 88-9, Watanabe Shoichi 138 104 Wedekind, F. Ill high and low comedy 63 Wei of Ch'i, King 22 on humour 49-51 Wells, H. G. 134 loss of humour 75, 78 Whetstone, George 17 power of fashion 93 Whitlam, Gough 1 and psychology of humour Wilde, Oscar 89, 134 71-3, 98 Winslow, 0. E. 61-2, 63 Tsuchiko Kinshiro 56 wit 62, 63, 66, 91, 160 Tsuruya Danjiiro 78 word-play 63-4, 91 Tsuyu no Goro 155 words and ideas comedy 63 Tung-fang Man-ch'ien (Tung- Wu, John C. 152 fang) 22 twentieth century, humour debate Yamada Bimyo 75 in l 10 Yamaguchi Masao 156 Tzuch'ang (Ssu-ma Ch'ien) 21 Yamashita Kyoemon 39 Yanagida Izumi 48 Uchida Roan 76 Yanagita Kunio 118-23 passim Uesugi Yozan 149, 152 allied occupation 142-4, 145 ugliness and deformity 10, 24, 25, desire for humour 130, 131 26, 27, 28 doomsday theory 112 Ui Mushii 147-8, 152, 153, 154 education by laughter 128-9 Umehara Takeshi !55 farce and comedy 126 196 Index

Yanagita cont. Yokoyama Toshio 43 love and irony 141 Yosa Buson 30, 31 militarism and humour 134, yose 78, 90, 128, 154 135-7 new humour debate 146. 149 rules of humour 157 Zeami Mokokiyo 29, 39-42, 47, value of Japanese culture 117 51, 62, 76, 105, 108, 122 victimisation 130 and comic theory 32-4