By Edward Seidensticker
Edward Seidensticker's Tokyo: From Edo to Showa, to be had the following for the 1st time in one quantity, tells the tale of Tokyo's transformation from the Shogun's capital in an remoted Japan to 1 of the main well known smooth towns on the planet. With an identical scholarship and elegance that received him admiration as one of many superior translators of jap literature, he bargains the reader his personal marvelous photograph of an entire society unexpectedly rising into the fashionable international. by means of turns elegiac and humorous, reflective and crisp, Tokyo: From Edo to Showa is a vital cultural historical past of Asia's maximum urban.
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Extra info for Tokyo from Edo to Showa 1867-1989: The Emergence of the World's Greatest City
Example text
Seidensticker All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written permission from the publisher. Grateful acknowledgment is made to the following institutions for permission to publish illustrations supplied by them appearing on the following pages: Tokyo Prefectural Archives: pp. 296, 299, 307, 310, 313, 331, 335, 337, 338, 339, 350, 361, 370, 372, 380, 383, 391, 396, 406, 491, 534, and 552; Asahi Shimbum: pp.
In both cases, the performance was the important thing. The notion of leaving something behind for all generations was not relevant. Much that is good in the Occidental theater is also satisfying as literature, but writings for the Tokugawa theater, whether of Edo or of Osaka, tend not to be. The best of Edo was in the Kabuki theater and in the pleasure quarters, whose elegant evenings also wore a theatrical aspect. It was a very good best, a complex of elements combining, as with chanoyu, into a moment of something like perfection.
One should guard against sentimentality, then; but there is the other extreme to be guarded against as well. The newly enlightened elite of Meiji was strongly disposed to dismiss Edo culture as vulgar and decadent, and the latter adjective is one commonly applied even now to the arts and literature of the early nineteenth century. Perhaps it was “decadent,” in a certain narrow sense, that so much of Edo culture should have centered upon the pleasure quarters, and it is certainly true that not much late-Edo literature seems truly superior.