is a type of Japanese book from the Edo period (1603–1867). Unlike other Japanese books of the periods, such as kusazōshi, they had few illustrations, and the emphasis was on the text. In storylines, Buddhist ethics such as karma are often preached, and characters with supernatural powers and imaginary creatures are often depicted.
From the end of the 16th century to the 18th century, Chinese novels such as Water Margin were translated and published in Japan. The mutual influence of Chinese novel styles, Japanese traditional war chronicles gunki monogatari, Buddhist tales, and Jitsurokumono based on social incidents promoted the stylization of yomihon and, in 1749, Tsuga Teishō published Hanabusasōshi establishing the style of yomihon. Takebe Ayatari, and Okajima Kanzan were also instrumental in developing the yomihon.
Another early pioneer of the yomihon was Ueda Akinari, with his Ugetsu Monogatari and Harusame Monogatari. Kyokutei Bakin wrote the extremely popular fantasy/historical romance Nansō Satomi Hakkenden, in addition to other yomihon. Santō Kyōden wrote yomihon mostly set in the pleasure quarters until the Kansei Edicts banned such works.
History
Overview
Yomihon as a genre was marked by its use of text heavy format, that often-left little room for illustrations. It was written in a Kanji-laden style, that frequently borrowed from Chinese elements. This meant that only the most educated readers of the Edo period would be able to read most Yomihon, which meant that Yomihon was not written for profit, but instead as an art. At around the same time, Akinari published Ugetsu Monogatari, and thought of himself to be rivals with Ayatari. His works focused on the vanity of human wishes, and the suffering war leaves behind. Akinari also relished in the complex nature of Yomihon, and hated the other popular genres of time, and is quoted as saying Lady Murasaki deserves to be doomed to hell for writing the Tale of Genji.
Kyoden’s first Yomihon was Takao Senjimon, which based its structure on a Chinese piece Shui Hu Chan.