novelists of the Yedo period, as is shown by the numerous direct imitations of the passages just described (known as michiyuki or "journeys"), and by the rhythmical swing of the alternation of seven and five syllable phrases, due to its example, which pervades so much of the subsequent popular literature.
Europeans who propose to take up the study of the Taiheiki will be glad to learn that there still remains a good deal of straightforward, business-like narrative, which, though not without occasional florid phrases and picturesque touches, is laudably free from recondite allusions and obscure metaphors, perplexing to the unlearned, and condemned as pedantic even by those who understand them.
The language of the Taiheiki is very different from that of the writings of the Heian period. Simpler forms are substituted for the older, more elaborate grammatical structure, and the vocabulary is enriched by the accession of a vast number of Chinese words, which no longer, as formerly, are only admitted to the literature after a time of probation in the colloquial speech, but are taken straight from Chinese books.
The importance of the Taiheiki in the history of Japanese literature is far greater than its intrinsic merits would lead us to expect. More than any other work it is the foundation of the modern literary style, and its good and bad qualities generally are reflected in the writings of a host of imitators, direct or indirect.
The events and personages which it describes are the themes of a very large share of the modern literature of Japan, and allusions to it are continually met with. Its popularity is further testified to by the fact
