“Ukiyozōshi” stories may be strongly associated with Osaka because of the major writer from the city, Ihara-Saikaku. But in fact they are often set in Kyoto, and many publishers of this genre were located also in the same ancient city. Saikaku and Ejima-Kiseki, however, tried to avoid emphasizing local color in their works. Probably such anti-regionalism is one of the factors that made them popular all over the country.
The “Genroku style” of haiku poetry refers not so much to the particular style of a poetical school as to the fashionable style of the times. As it was most often used in introductory textbooks or at haiku competitions, it should be understood in the context of the popular culture of the Genroku Period. Indeed the poets of Kamigata put stress on the popular aspect of haiku poetry in their “style” so that it could be widely received among lay poets and haiku lovers.
Ashibe-no-Tazumaru is a kyōka poet of the late Edo Period who was born in Nagoya. After he studied kyōka poetry under the tutelage of Karagoromo-Kisshū in Edo, he went back to his hometown where he frantically devoted himself to rendering poems even at the expense of his family. In the midst of such self-inflicted hardship he made a debut in the poetical circle of Kyoto and continued to make poems for the rest of his life. In his career as a kyōka poet Tazumaru not only moved between the three cultural centers Kyoto, Osaka, and Edo but also traveled around the country in search of poetical materials from Sendai and Matsushima to Nagasaki. His freewheeling itinerancy reveals that since the Bunsei Period at least in kyōka poetry there had almost disappeared literary sectionalism.
The kabuki theater of Kamigata in the Meiji Period is regarded as not worthy of consideration because it was neither modern nor innovative in contrast to the counterpart of Tokyo. Closely examined, however, it showed not a few interesting changes in response to the new era. Most dramas, for example, had a marked tendency to be fashioned after the new style of kabuki in Tokyo. Interestingly enough, far from being an inferior imitation, the “Tokyo” style of kabuki in Kamigata had impact on the dramaturgy of the very theatrical center. Such an interaction between Kamigata and Tokyo makes it necessary to evaluate the historical importance of the kabuki theater of Kamigata in the early Meiji Period.