INTRODUCTION

Of all the years that spanned the Tokugawa period (1600–1868), the middle years, Tokugawa chūki, here called the “eighteenth-century,” are distinguished by the creative achievements realized along a broad front. Important innovations were introduced in theater, literature, and printmaking in the arts and, more pertinent to this chapter, into reflections on history, nature, and political economy. Coming in the era directly before the Industrial Revolution in modern times, this century offers key insights into the philosophical foundations of modern Japanese civilization that are grounded in the history prior to Japan's intense engagements with the Western world. It comes as no surprise that intellectuals have continued to turn to that history as a resource for critical inspiration.

An obvious point must be made before continuing. As historical time was not recorded according to the Christian calendar, “eighteenth-century Japan” is no more than a rough Western “translation” of a period of time following the well-known era of Genroku (1688–1704), essentially commencing with the Kyōhō (1716–36), and ending with the Ka-sei, an elision of Bunka and Bunsei, 1804–18 and 1818–30, respectively.

The opening years present a sobering aftermath of the ebullient commercial revolution identified with the Genroku. Often cited as a specific event to demarcate that moment of uneasiness is the famous vendetta incident of the “forty-seven samurai” in 1702. This celebrated act of loyal revenge, admired by many, was also legally treasonous, and after much agonizing debate, the Tokugawa bakufu ordered the execution of these “loyal” retainers through ritual suicide.