There are important documents about the poetical circle of Taisha at the Tezen Museum in Izumo City, Shimane Prefecture. The most interesting one is Okazaki-nikki by Hirose-Byakura, a local poet who disseminated Mukai-Kyorai's poetical method in Izumo after learning it from Kūa in Okazaki, Kyoto. As the journal shows, Byakura was an excellent master who could logically and practically instruct his enthusiastic disciples in the art of making poems. In this sense he can be counted as one of the representative poets of the mid-early modern times.

Kamo-no-Mabuchi initiated his disciples into his “manyō” poetical style, but some of them didn't simply follow the master's teaching. Murata-Harumi and Katō-Chikage, for example, cultivated their own styles but eventually placed them in the tradition of their master's brand of Japanese studies. As a result, Shimizu-Hamaomi faithfully received his master Murata's teaching to legitimate Mabuchi's literary achievements.

Maeda-Kisōshi wrote Yomo-gigusa (1793) under the influence of Tsuga-Teishō, Ueda-Akinari, and other “yomihon” writers, but he tried to create a new sort of moralistic story quite different from those early novels which featured didactic plots borrowed from Chinese vernacular tales. The author actually built the story on his own idea of “justice” which he advocated in the preface. In this way he played an important role in the development of early modern short novels.

Ishikawa-Masamochi's Ōmi-agata-monogatari (1808) is known as a “yomihon” novel faithfully based on Li Yu's Kōdanen-denki. While Ōta-Nanpo praised the story for its sophisticated adaptation, Kyokutei-Bakin remained silent about it probably because he felt dissatisfied that the Chinese original was reworked into a Japanese story with its incomplete moralistic plot. Bakin's critical response, however, must have been predictable, for Ishikawa wrote it also under the influence of several Japanese classical texts. For example, the episode about the birth of Umemaru, the main character of the story, seems to borrow from the “Kiritsubo” Chapter of Genji-monogatari. This article will point out how his interest in Japanese studies subtly inflected his adaptation of Kōdanen-denki.

“Irokoki-hana-to-mishikadomo (although I knew the flower was crimson).” This phrase from Hikaru-Genji's song in the Suetsumuhana Chapter of Genji-monogatari reminds me of the following waka poem in Kokin-shū; “Murasaki-no-irokoki-tokiha-memoharuni-nonaru-kusaki-zowakarezarikeru (when purple gromwells flourish, the field turns so completely green that everything looks alike in my eyes).” It associatively and intertextually foregrounds a counterpoint between purple and crimson in the whole chapter as well as a dramatic shift caused by the song's pun on “hana” which means both “flower” and “nose.”