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Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697, often called the Nihonshoki, is one of Japan's great classics of literature. Regarded as one of the seminal original authorities on the mythology and ancient history of Japan, it remains as fresh today as when it was written in the eighth century. It provides a vivid picture of a nation in formation. In the Nihongi, we see the growth of national awareness following the assimilation of Buddhism and the general Chinese and Indian influence on Japanese culture. Before its history stretch the mysterious archaeological ages of Jomon and Yayoi. From the first chapter, “The Age of the Gods,” the fantastic world of ancient Japan is laid before us. Ritual myth and superstition meet with bare feet and folk custom. Strong emotions and conflict are seen surging in Japan’s antiquity. Few historical documents are as “human” as the Nihongi. For a thousand years, emperors, scholars, courtiers, and imperial historians have found in the Nihongi knowledge and guidance. It remains a key to early Japan, a gateway to the actual old Japan. The translator of the Nihongi, William George Aston, pioneered the translation of Japanese into English.
The Nihon Shoki, translated as The Chronicles of Japan, is the second oldest book of classical Japanese history. The book is also called the Nihongi (The Japanese Chronicles). It is more elaborate and detailed than the Kojiki, the oldest book, and has proven to be an important tool for historians and archaeologists as it includes the most complete historical record of ancient Japan. The Nihongi was finished in 720 AD under the editorial supervision of Prince Toneri and with the assistance of Yasumaro no O. The book begins with the Japanese creation myth, explaining the origin of the world and the first seven generations of divine beings, and continues its account through to events of the 8th century. It is believed to record accurately the latter reigns of Emperor Tenji, Emperor Temmu and Empress Jito. It describes episodes from mythological eras and diplomatic contacts with other countries. The Nihongi was written in classical Chinese, as was common for official documents at that time. Yasumaro no O (died August 15, 723) was a Japanese nobleman, bureaucrat, and chronicler. He is most famous for compiling and editing, with the assistance of Hieda no Are, the Nihongi and the Kojiki, the two oldest books on Japanese history.
Written in the early eighth century, the Kojiki is considered JapanÕs first literary and historical work. A compilation of myths, legends, songs, and genealogies, it recounts the birth of JapanÕs islands, reflecting the origins of Japanese civilization and future Shinto practice. The Kojiki provides insight into the lifestyle, religious beliefs, politics, and history of early Japan, and for centuries has shaped the nationÕs view of its past. This innovative rendition conveys the rich appeal of the Kojiki to a general readership by translating the names of characters to clarify their contribution to the narrative while also translating place names to give a vivid sense of the landscape the characters inhabit, as well as an understanding of where such places are today. Gustav HeldtÕs expert organization reflects the textÕs original sentence structure and repetitive rhythms, enhancing the readerÕs appreciation for its sophisticated style of storytelling.
Of all the mass of Japanese literature, which lies before us as the result of nearly twelve centuries of book-making, the most important Monument is the work entitled "Ko-ji-ki"1 or "Records of Ancient Matters," which was completed in A. D. 712. It is the most important because it has preserved for us more faithfully than any other book the mythology, the manners, the language, and the traditional history of Ancient Japan. Indeed it is the earliest authentic connected literary product of that large division of the human race which, has been variously denominated Turanian, Scythian and Altaic, and it even precedes by at least a century the most ancient extant literary compositions of non-Aryan India. Soon after the date of its compilation, most of the salient features of distinctive Japanese nationality were buried under a superincumbent mass of Chinese culture, and it is to these "Records" and to a very small number of other ancient works, such as the poems of the "Collection of a Myriad Leaves" and the Shintō Rituals, that the investigator must look, if he would not at every step be misled in attributing originality to modern customs and ideas, which have simply been borrowed wholesale from the neighbouring continent. It is of course not pretended that even these "Records" are untouched by Chinese influence: that influence is patent in the very characters with which the text is written. But the influence is less, and of another kind. If in the traditions preserved and in the customs alluded to we detect the Early Japanese in the act of borrowing from China and perhaps even from India, there is at least on our author's part no ostentatious decking out in Chinese trappings of what he believed to be original matter, after the fashion of the writers who immediately succeeded him. It is true that this abstinence on his part makes his compilation less pleasant to the ordinary native taste than that of subsequent historians, who put fine Chinese phrases into the mouths of emperors and heroes supposed to have lived before the time when .intercourse with China began. But the European student, who reads all such books, not as a pastime but in order to search for facts, will prefer the more genuine composition. It is also accorded the first place by the most learned of the native literati. Of late years this paramount importance of the "Records of Ancient Matters" to investigators of Japanese subjects generally has become well-known to European scholars; and even versions of a few passages are to be found scattered through the pages of their writings. Thus Mr. Aston has given us, in the Chrestomathy appended to his "Grammar of the Japanese Written Language," a couple of interesting extracts; Mr. Satow has illustrated by occasional extracts his elaborate papers on the Shintō Rituals printed in these "Transactions," and a remarkable essay by Mr. Kempermann published in the Fourth Number of the "Mittheilungen der Deutschen Gesellschaft für Natur und Völkerkunde Ostasiens," though containing no actual translations, bases on the account given in the "Records" some conjectures regarding the origines of Japanese civilization which are fully substantiated by more minute research. All that has yet appeared in any European language does not, however, amount to one-twentieth part of the whole, and the most erroneous views of the style and scope of the book and its contents have found their way into popular works on Japan. It is hoped that the true nature of the book, and also the true nature of the traditions, customs, and ideas of the Early Japanese, will be made clearer by the present translation the object of which is to give the entire work in a continuous English version, and thus to furnish the European student with a text to quote from, or at least to use as a guide in consulting the original. The only object aimed at has been a rigid and literal conformity with the Japanese text. Fortunately for this endeavour (though less fortunately for the student), one of the difficulties which often beset the translator of an Oriental classic is absent in the present case. There is no beauty of style, to preserve some trace of which he may be tempted to sacrifice a certain amount of accuracy. The "Records" sound queer and bald in Japanese, as will be noticed further on, and it is therefore right, even from a stylistic point of view, that they should sound bald and queer in English. The only portions of the text which, from obvious reasons, refuse to lend themselves to translation into English after this fashion are the indecent portions. But it has been thought that there could be no objection to rendering them into Latin,—Latin as rigidly literal as is the English of the greater part.
This historical narrative reveals the life of Linda, a young woman struggling to come to grips with her rudderless existence, of her stumbling back to her hometown after a failed marriage, and having to face the judgments of a stoic Japanese mother. Chieko’s life is in stark contrast, having survived the most horrific last days of World War II, and having come of age in occupied Japan where she made a living working in a hostess club serving drinks and dancing with servicemen. Linda wants to write her mother’s story, and Chieko always says no. But then something happens between Chieko and Linda as they begin to bond through Linda’s apprenticeship in Chieko’s flower garden. On those gardening days, after the work is done, they sit at the kitchen table where Chieko quite openly weaves for her daughter the threads of her life, including her determination to survive. Linda at times feels traumatized by her mother Chieko’s descriptions of the war, and most of the time Linda ends her kitchen table talks and heads to the local bar to get drunk. One spring day in the fourth year of their kitchen table talks, Chieko says to Linda as they sip scotch, “If you really must tell my story, tell it like the playwright, Eugene O’Neill, because he knew sadness.” Even though Linda hears it in her mother voice each time she speaks about her life, the sorrow in her tone routinely breaks Linda down. But Chieko is funny, too, with stories of coming of age at a time in Japan when most believed romance and life in paradise was a promise made in American films brought in by the occupation. Chieko’s hopes and dreams of life in the States with a handsome hero are penned on a photograph of herself that she gives to her American lover as he heads back to the States. It is a simple note that reads, “I promise my eternal love.” Of all the lovely traits mothers and daughters can have in common, one of theirs isn’t so lovely: They both don’t keep promises.