Ogyu Sorai (1666-1728) proposed 'giko'(archaism) after the model of 'toshi'(the poems of Tang age). The analysis of the toshi model by Sorai makes clear that the letter is a symbol of human behavior and the phoneme is a natural symbol and that <Komonji> made by the sages represents the linguistic model which is harmoniously combined with the both. In the history of disrupting and corrupting process of <Komonji>, Sorai also proposed 'giko' by <Komonji>. To Sorai, 'giko' is cognition or expressive behavior to seize firm the invisible reality of the world.
As for the linguistic development of the Japanese waka theory in the late modern era, the Keien school led by Kagawa Kageki formed the self-privileged theory that the internal-self had the direct presence. And this assertion had theinfluence even on the Araragi school. However, the Japanese poetry waka and its theory of Okuma Kotomichi disclosed the fact that the self-privileged theory was not self-evident, but rather the assertion that waka expression had the direct presence incurred the impossible theory of itself and therefore the absence of presence.
Among the court poets with high status were the court nobles or the Tennos(Emperors) themselves in the modern times, who were relatively neglected in the history of traditional research of 'waka'. While they respected the traditional art of poetry, they had their own efforts and zeal for novelty and creation. By the study of Gomizuno-o-in (Retired Emperor)'s correction method of 'waka', we recognize that he tried hard to harmonize each word with its understandable sense and that he had very good devices for manipulating languages within the limit of 31 words. Therefore, we should pay more attention to the linguistic ability of Gomizuno-o-in who was the leader of the court poetry circles in the modern times.
This essay tries to create a new novel theory by citing and interpreting the text of "Amatsu-otome" from Harusame monogatari by Ueda Akinari which hitherto was not fully elucidated even by the modern literary theory. "Amatsu-otome" is a literary work for extremity to objectify the story(novel) and at the same time to develop a new dimension of the story form. And one of the aims of this essay is to clarify a new range of this experimental text and create a new form of criticism.
The chapter of "Takadono no Ue " in the Utsuho monogatari has the same mythological narrative form as the Taketori monogatari. In this last part of the story, we recognize how the ties of blood are respected since 'Toshikage' and how the earthly authority is relatively abased by the Koto family's theory inherited to the 'Hikin'(a koto) as predestination. Here is a theoretical consistency in that Sagano-in apologizes to Toshikage whose daughter accomplishes ' filial piety' to her father. And Buddhism has a strong influence not only on the surface structure of the theory but on the deep structure of the thought. It is symbolically depicted with the supreme happiness of the Hikin play and the Koto family's refined way of life.