For several hundred years following the 13th century literature in Japan showed a significant decline. This was due in the first place to the fact that the authority of the imperial court suffered a decline concurrent with the rise of militarism, accompanied periodically by civil wars. Intellectual studies were totally neglected among the common people and scholarship in a large measure became a monopoly of the monks. This decay, in the second place, is at tributable to the fact that the pure native litera ture which flourished in the Heian era disap peared, and a new style of writing arose,— a mixture of the Chinese character and the Kana. While resulting in no improvement in the sys tem of writing this produced much confusion, and the mode of writing was thrown back al most to its condition in the Nara era. But the number of literary works produced during this period was not small, and they may be said to possess a significant peculiarity of their own. Enlightenment during the Heian period was confined chiefly to the nobles in the capital (Kioto), but unfortunately it became debased into mere empty luxury, resulting in the cor ruption and effeminacy of manners and customs. As a result, the literature of the period lackEd vigor and force. The chief endeavor of writers was for refinement and grace. They became weak and diffuse. Moreover, the writers of the period were mostly women, and even men generally imitated the female style. Since the 13th century, however-, the chief literary productions, as the result of the prevalence of the military spirit, dealt with warlike themes, though they were mostly written by priests, and were commonly known as (War Narratives). They were written somewhat in the style of romance, and, therefore, from a strictly historical point of view, may be open to criticism; but nevertheless they form interesting reading. Of such books we may cite the (flogen Monogatari,' Monogatari> and Seisniki.' Such were the general conditions from the 13th century to the middle of the 14th, which embrace the Kamakura and Hojo period; and in fact the sante conditions continued-down to the end of the 15th century, namely, the Ashikaga era. The famous was an early production of this age. Mention should also be made of the Shtitc4ci,) which was a historical work of a serious nature, with critical observations, a rare production in Orien tal history. Another well-known book is the (Tsuredzuregusa,) which was written in pure Japanese style after the one which appeared during the Heian period, being a collection of short sketches in much the same style as the (Pillow Sketches). (For specimens consult Aston's Japanese Literature).. In conciseness and pointedness of expression it excels the standard works of the latter period and is classed among Japanese classic; The (HojokP is also of similar nature.
The period which can be compared with that in modern Europe dates from the be ginning of the Tokugawa era down to our own day, namely, the -last three centuries. For nearly 300 years, i.e., since the establishment of the Tokugawa Shogunate in the beginning of the 17th century, japan enjoyed practically tinuous peace, the country during this time be ing almost entirely, secluded from the outside world. In this period intellectual study made
great strides under the encouragement and patronage of the Shogunate itself and the feudal lords, Owing to the rapid growth •of the mew cities of Yedo (Tokio) and Osaka; • the,ceratire of literary activity, hitherto concentrated in Kioto alone, was now divided between Yedo in the east and Osaka and Kioto io the west. This literary activity was divided into tlxree great phases: first, the revival of Chinese study; second, research into Japanese classics ; and, third, activity in the production of all descrip tions of fiction and dramatic pieces. As for the revival of the study of Chinese, it not only surpassed that of the Nara and Haan eras, but in the subjects of philosophy, history, Chinese poems and essays, the work was even an object of admiration of the Chinese themselves. The study of Japanese classics resulted in a better knowledge of the ancient books of the Nara and Heian eras, as well as in a clearer concep tion of the Shinto doctrines. In the sphere of pure literature, however, the revival, failed to regain the standard represented by the of the Nara era and other classical works produced in the Heian era. Thus we can see that the revival of both the Chinese study and the research into classical works, al though both greatly helped the advancement of general culture, were unable to produce any brilliant native literature, owing to the fact that the first was altogether foreign to the native tongue and the second mainly limited to research into the works of antiquity. It is in the third phase — the growth of fiction and drama — that we most seek the real merit of the native literature. In scholastic attainment!, the writers belonging to this class were not equal to those belonging to the other classes, but their imaginative power and adaptability far excelled the others. While the full scope and variety of the literary productions of the period cannot be given here, it can be said that these works of fiction may be roughly divided into three classes, namely, heroic stories, such as those of Bakin; love stories, such as those of Tamenaga; and the humorous miscellaneous works of such writers as Ikku.
Since the introduction of modern European civilization Japanese literature has shown new vigor, and books of all kinds have been written and published in such an innunrrable number as is unparalleled in any past period. The great drawback of the modern system of writing is that it differs from the spoken language. Be sides, the use of pure, phonetic letters, without mixing the Chinese characters, has long fallen into decay. Many a writer is now engaged in endeavoring to identify the written and spoken language and devising all sorts of forms of composition. In other words Japanese litera ture is still in a transitory stage, and there fore there 'are no standard works to show as specimens of the new literature It may, how ever, be said that many valuable works have already been written by representatives of the new generation, with great promise of further progress.