Ame-no-Uzume is a goddess of revelry who is known for her sensual but comical dancing that lured the sun goddess Amaterasu out of the cave of Amano-iwato. Her performance in the myth of Amano-iwato is described as a sort of divine possession called "kamigakari," which is caused by her dialogue with Amaterasu. In the myth of Tenson-korin, however, she makes not Amaterasu but a god named Sarutahiko show up with her dancing. In the myth of Amano-iwato her performance is also called "wazawoki," artistic improvisation that emerges from the chaotic ecstasy of "kamigakari."
Ueda-Akinari had changed his view of life and death since he lost his wife Korenni at the age of 64. Probably this can be seen most remarkably in "Yomotsu-fumi," a spiritualistic story that consists of a series of letters from his dead wife. Thus her death marked a turning point in his late career that was to result in his determination to complete Harusame-monogatari.
In Tokaidd-meisho-zukai, an illustrated guide book of the Edo Period, Mount Fuji majestically rises just beyond Mount Hiei as if it could be seen in Kyoto. Probably the author deliberately made such a geographical nonsense on purpose to show the cultural and historical superiority of Kyoto to Edo with the symbol of Japan. The illustration also reflects a desire to restore imperial rule that was then strongly felt especially in the old capital. Thus the picture of Mount Fuji in Kyoto was produced in the cultural and political contexts of the age.
"Sanshodayu" has been often criticized for the modernistic attitude of the author who deplorably eliminated all pre-modern cruelties of the original fable in the process of adaptation. Even now most critics seem to hold the story in the same light, for they often negatively interpret it while referring to "Sanshodayu-kou," Kunio Yanagida's ethnographical essay about the fable. But I think such comparison between the original and its adaptation is rather futile. Instead it must be more appropriate to read "Sanshodayu" as a literary text per se. What is most important is not whether it is faithfully based on the original but how we can discover its immanent literary value in terms of narration, plot, and structure.