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Kibyōshi in the Harvard-Yenching Library: a Guided Tour

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EARLY MODERN JAPAN 2007 Thankfully, during his couple of decades survey- Kibyōshi in the ing libraries and museums and private collections in Japan for individual works, Professor Tanahashi left Harvard-Yenching Library: just about no stone unturned. The result, with its A Guided Tour comprehensive indices, can serve as an encyclopedia not just of the kibyōshi, but also of nothing less than © Adam L. Kern, Harvard University* the Japanese popular imagination of the day, albeit as glimpsed through the ingeniously distorted lens of Scholarship on the woodblock-printed comic- the genre. book known as the “yellowback” (kibyōshi 黄表紙) What might be counted as the only conspicuous received a hefty boost recently with the completion omission in this magnum opus—at least to a non- in 2004 of Tanahashi Masahiro’s Kibyōshi Overview Japanese scholar interested in the kibyōshi—is that (Kibyōshi sōran), a massive work in five volumes not one archive outside of Japan was consulted, let spanning some 3,500 pages and providing précis for alone visited. Since not all kibyōshi are to be found virtually all 2,500 or so extant kibyōshi.1 in Japan, after all, a comprehensive survey in non- This is an ironically substantial monument for a Japanese collections should probably be undertaken, genre that was relatively ephemeral, having been eventually. Here, however, I take a more modest and produced and primarily consumed from 1775 to decidedly local first step by providing a kind of about 1806, confined in its readership mostly to the “guided tour” of kibyōshi in the Rare Book room at denizens of Edo (present-day Tokyo), and above all the Harvard-Yenching Library, most of which have else irrepressibly lighthearted. Yet as an urbane never before been transcribed into modern Japanese, comicbook for adults that both was arguably one of let alone translated into or even discussed in English. the most popular genres of its day and also remains a Two other affiliated collections—one at Harvard’s valuable repository of cultural history illustrated, the Arthur M. Sackler Museum of Art and the largest kibyōshi perhaps merits such weighty treatment. one at Museum of Fine Arts, Boston—shall be left for future surveys. * The author wishes to express his gratitude to: his graduate research assistant, Mr. Will Fleming, The Kibyōshi The Harvard-Yenching Library can boast a small for his hard legwork on this project; the Reischauer but captivating collection of kibyōshi. Produced by Institute of Japanese Studies, for its generous finan- cial support; Mr. James Cheng, Director of the Har- the most popular literary and artistic lights of the day—and merely one of many genres of “playful vard-Yenching Library, for the courtesy of the imag- es appearing herein; and the two anonymous readers literature” known as gesaku 戯 作 —the typical for their perceptive editorial suggestions. The author kibyōshi was mass produced in one to three volumes, further thanks the several people who granted with black-and-white interior pictures dressed up by physical access to the kibyōshi mentioned in this occasionally colorful frontispieces affixed to soft article: Ms. Kuniko Yamada McVey and Mr. Xiao- yellowish covers. Although long ignored as a kind of he Ma of the Harvard-Yenching Library; Ms. Anne pulp fiction, interest in the kibyōshi has been grow- Rose Kitagawa of Harvard University’s Arthur M. ing over the past few decades in the West as well as Sackler Museum; and Ms. Rachel Saunders of the in Japan, no doubt as part of both the “Edo boom” Museum of Fine Arts, Boston. The present article and the realization that the kibyōshi might be a dis- tant progenitor of the multibillion-dollar a year in- has been adapted and modified from Adam L. Kern, 2 “Hābādo daigaku Yenchin toshokan shozō no dustry that is the modern manga. kibyōshi,” in Suzuki Jun, ed., Hābādo daigaku Enkyō toshokan no Nihon kotenseki (Yagi shoten, 2 The kibyōshi is also compelling unto itself, of forthcoming 2008). course, as an expression of the rich visual-verbal, 1 Tanahashi Masahiro, Kibyōshi sōran, in Nihon comic, and popular imaginations of the Edo-period shoshigaku taikei, vol. 48, nos. 1-5 (Seishōdō shoten, Japanese. For more on this in English, see Adam L. 1986~2004). The first three volumes contain pub- Kern, Manga from the Floating World: Comicbook lishing information and précis; the fourth, several Culture and the Kibyōshi of Edo Japan, in Harvard indices; and the fifth, mostly reproductions (mostly East Asia Monographs, no. 279 (Cambridge, M.A.: in black and white) of cover art. Harvard University Asia Center, 2006). 2 EARLY MODERN JAPAN 2007 Sixteen kibyōshi are listed in the catalogue Early covers than with “yellow” covers.) This is why most Japanese Books at Harvard-Yenching Library.3 Of specialists today, like Tanahashi, differentiate be- these, at least one is of questionable attribution: the tween the genres of bluebook and yellowbook less copy of Santō Kyōden’s 山 東京 傳 (1761-1816) by cover color—especially since many covers have Diary Penned by a Two-Headed Brush with Virtue gone missing (as is the case with a few of the works and Vice (Ryōtō hitsu zen’aku nikki 「両頭笔善悪 in the Harvard-Yenching collection)—but more by 日記」, 1799) appears not to be an original Edo- the presumed readership based on the general level 4 of the content of the story and the complexity of its period kibyōshi. Although its panels of printed text visual-verbal idiom. Simply put, books with either and pictures are the right size, the physical pages are blue or yellowed covers for children tend to be blue- much larger than the usual 5 x 7 inch mid-sized books, and books with either blue or yellowed (chūbon 中本) format invariably observed by the covers for adults tend to be kibyōshi. genre, and its paper and ink are uncannily pristine. One example of a kibyōshi that the catalogue This particular work may well be a facsimile repro- miscategorizes as a bluebook is Kyōden’s Master duction, then, or at least a reprinting from a later Flashgold’s Abiding Dream (Kingin sensei zōka no age—perhaps the Meiji period (1868-1912)—but it yume 「金々先生造化夢」, 1794)(Fig 1). The adult is most likely not a “genuine” kibyōshi. content of the story alone no doubt qualifies this Conversely, it might be argued that there are piece as a kibyōshi. In fact, this is the consensus actually more kibyōshi in the collection than the among leading specialists: Tanahashi lists Master catalogue has hitherto acknowledged, for several Flashgold’s Abiding Dream in Kibyōshi Overview; works categorized as “bluebooks” should more aptly and Mizuno Minoru includes it in one of the five be considered kibyōshi. This is because the bluebook volumes devoted to the kibyōshi within Santō (aohon or aobon 青 本 ) was a loosely defined Kyōden’s Collected Works (Santō Kyōden zenshū). comicbook genre that actually includes both Thus, Master Flashgold’s Abiding Dream should kibyōshi as well as earlier works for children—or at probably be recategorized as a kibyōshi.5 least for semiliterate readers. To expand upon this slightly, during the late eighteenth century the line between genres was typi- cally amorphous. Works could be categorized—and often were categorized—in more than one way. It is oftentimes exceedingly difficult to determine a genre, then, only by the color of its cover. Not all books with blue covers are generically bluebooks; nor are all books with yellow covers generically yellow- books, since the covers of some generic bluebooks faded to yellow. (In this sense, the term kibyōshi actually refers more to comicbooks with “yellowed” 3 Oka Masahiko and Aoki Toshiyuki, ed., Hābādo enkei toshokan washo mokuroku = Early Japanese Books at Harvard-Yenching Library 「ハ Figure 1 Scene from Master Flashgold’s Abiding ーバード燕京図書館和書目録」(Yumani shobō, Dream (Kingin sensei zōka no yume, 1794).6 1994), pp. 37-38. 4 The titles of kibyōshi are challenging to render in English because they often contain complex forms of wordplay that typically become clear only with a close reading of the work, something that is particu- 5 See Tanahashi, Kibyōshi sōran 2 (Seishōdō larly difficult when the work has never before been shoten, 1989), pp. 387-389 and Mizuno et al., eds., annotated or transcribed into modern Japanese. Even Santō Kyōden zenshū 3 (Perikansha, 2001), pp. 547- Japanese scholars find kibyōshi titles daunting, 568. which is probably why Tanahashi himself as a rule 6 Kibyōshi written by Santō Kyōden and illustrated refrains from explaining titles in Kibyōshi Overview. by Kitao Shigemasa. ©2007 Harvard-Yenching Library. 3 EARLY MODERN JAPAN 2007 Similarly, of the 34 bluebooks and blackbooks (10) The Salutary Story of a Soul Restored (Enju (kurohon or kurobon 黒本) in the catalogue—the hangontan 「延寿反魂談」, 1789). Written and two related genres are lumped together into the same illustrated by Santō Kyōden 山東京傳. HYL #343 category—a dozen or so are treated as kibyōshi by Tanahashi in Kibyōshi Overview. These works are: (11) Nonomiya’s Proverbially Profitable Gam- bol (Kotowaza Nonomiya mōde 「諺野々宮儲」, (1) The Life of Kusunoki Masashige (Kusunoki 1784). Illustrated and presumably written by Kitao ichidaiki 「 楠 一 代 記 」 , 1794). Written by Masayoshi 北尾政美. HYL #344 Rakugetsudō Sōshi 落月堂操巵. Harvard-Yenching Library catalogue #324 (12) A Mother and Daughter Laid to Rest, Part One: A Tale of Winter Snow ((Oyakozuka zenpen) (2) Ōtsu’s Specialty Products (Ōtsu no meibutsu 親子塚 Tōsetsu monogatari 「 前編 冬 雪 物 語 」 , 1804). 「大津名物」, 1781). Written by Iba Kashō 伊庭可 Written by Nansenshō Somahito 南仙笑楚満人 and 笑 and illustrated by Kitao Masanobu 北尾政演. illustrated by Utagawa Toyokuni 歌川豊国.7 HYL HYL #332 #345 (3) Trilateral Intrigue of the Soga Brothers (San- (13) A Mother and Daughter Laid to Rest, Part bukutsui murasaki Soga 「参幅対紫曽我」, 1778).
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  • TRADITIONAL FOLK SONG in MODERN JAPAN 2240 Pre.Qxd 11/26/07 8:59 PM Page Ii 2240 Pre.Qxd 11/26/07 8:59 PM Page Iii

    TRADITIONAL FOLK SONG in MODERN JAPAN 2240 Pre.Qxd 11/26/07 8:59 PM Page Ii 2240 Pre.Qxd 11/26/07 8:59 PM Page Iii

    2240_Pre.qxd 11/26/07 8:59 PM Page i TRADITIONAL FOLK SONG IN MODERN JAPAN 2240_Pre.qxd 11/26/07 8:59 PM Page ii 2240_Pre.qxd 11/26/07 8:59 PM Page iii TRADITIONAL FOLK SONG IN MODERN JAPAN SOURCES, SENTIMENT AND SOCIETY David W. Hughes SOAS, UNIVERSITY OF LONDON 2240_Pre.qxd 11/26/07 8:59 PM Page iv TRADITIONAL FOLK SONG IN MODERN JAPAN SOURCES, SENTIMENT AND SOCIETY David W. Hughes First published 2008 by GLOBAL ORIENTAL LTD PO Box 219 Folkestone Kent CT20 2WP UK www.globaloriental.co.uk © David W. Hughes 2008 ISBN 978–1–905246–65–6 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by anyelectronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without prior permission in writing from the publishers. David W. Hughes has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the Author of this work. British Library Cataloguing in Publication Data A CIP catalogue entry for this book is available from the British Library The Publishers and Author wish to thank the Great Britain-Sasakawa Foundation and SOAS, University of London, for their generous support in the making of this book. Set in Garamond 11.5 on 13pt by IDSUK (Data Connection) Ltd. Printed and bound in England by Antony Rowe Ltd., Chippenham, Wiltshire 2240_Pre.qxd 11/26/07 8:59 PM Page v to Gina, to Sue and Jerry Hughes, and to all ‘the folk’ of Japan 2240_Pre.qxd 11/26/07 8:59 PM Page vi 2240_Pre.qxd 11/26/07 8:59 PM Page vii C ONTENTS List of Musical Examples xiii List of Figures xv List of Tables xvii Stylistic conventions xxi Foreword xxiii Acknowledgements xxix 1.