Ryusaku Tsunoda (1877–1964)

This is an essential book for anyone who is studying the Japanese culture and wants to understand their way of thinking. It contains cultural primary documents that have been translated into English. The author early on states that this book is best read after gaining initial knowledge of Japan's history, and I recommend that, too! There are some concepts and important figures that may be confusing to people who pick this up as one of their first Japanese history texts.
(Just to note, I am show more reviewing the '56 copy of the book, and might change this review when I obtain the newer version. I'm curious what they changed and/or added in!)

The author moves along chronologically and thematically, so oftentimes all Buddhist content is grouped together as is the political and Shinto entries. I haven't made up my mind whether there is a better way of arranging the contents of the book, but that does mean that sometimes reading one section all the way through is a slog. For example, the author covered all of the new Buddhist sects in the Kamakura period in one go... That was quite a lot to read for someone who is not necessarily interested in the religious side of a culture so much. For those like me who are more interested in artistic production, reading an art history textbook or regular book might be better, as de Barry only slightly touches on artistic traditions.

Another minor but important addition would be to add a timeline. This book is intended for those who already have some sort of introduction to Japanese history, but nevertheless, a visual guide for where in time a section is would have been helpful. Along the same lines, chronological life and death dates next to authors' names would have been excellent. In my 1956 copy, there were general dates for the chapter, but not for an author, or when their works were written. Yes, sometimes de Barry mentioned the dates in the bulk of introductory paragraphs, but I am a strong proponent of easy-to-find reference materials in favor of integrating them into paragraphs.

Overall, this book is heavy on primary text; naturally, de Barry introduces the important figures before the figures' writings, but de Barry does not delve into an author's background too much. Aside from very important figures, I had to additionally look up a persona in order to understand them and their contribution to Japanese history. If you go into this book with the expectation that befits an introductory text, then I imagine you'll have an excellent time reading this book. If you are more advanced in Japanese Studies, I think this will serve as a good refresher or reference point but for finer details, it would be better off to consult an academic source or text that has a narrower focus. In the end, I enjoyed de Barry's comprehensiveness and enjoyable writing style. 'The Sources of Japanese Tradition: Volume I' has space reserved on my bookshelf already! Now, onto Volume II. show less

Huge book; short review.

Voluminous, informed ... but kinda boring: how was all that made so ... boring? Good passages, but overall just too much work. Look at how many other reviewers gave up on "A Distant Mirror" (I finished)

Structurally, the problem is that no real superstructure was presented, just a long disconnected series of follies, deaths & betrothments. One hundred years war, the plague shouldn't be boring, but successfully, they were.

5 stars for content
2 stars for interest, reader show more captivation
3 stars for me. show less

A Distant Mirrorr by Barbara W. Tuchman is, on one level, a seven hundred page encyclopedia of the 14th century’s political, military, religious, social, cultural and economic history. Since Ms. Tuchman is a first-rate writer, on still another level, the book is a compelling, personalized account of individual men and women living through these turbulent, disastrous times, especially one Enguerrand de Coucy V11 (1340-1397), a high-ranking noble, heralded as “the most experienced and show more skillful of all the knights of France”. The focus on Lord Coucy is supremely appropriate since this nobleman repeatedly pops up as a prime player in many of the century’s key events.

The 14th century witnessed ongoing devastation, including the little ice age, the hundred years’ war, the papal schism, the peasant’s revolt and, most dramatically, the black death of 1348-1350, which depopulated Europe by as much as half. Ms. Tuchman’s book covers it all in twenty-seven chapters, chapter with such headings as Decapitated France: The Bourgeois Rising and the Jacquerie, The Papal Schism, The Worms of the Earth Against the Lions and Dance Macabre.

Many pages are filled with the color and morbidity of the times. By way of example, here is one memorable happening where the French Queen gave a masquerade to celebrate the wedding of a twice widowed lady-in-waiting: six young noblemen, including the King who recently recovered from a bout of madness, disguised themselves as wood savages and entered the masked ball making lewd gestures and howling like wolves as they paraded and capered in the middle of the revelers. When one of the noble spectators came too close with his torch, a spark fell and a few moments later the wood savages, with the exception of the King, were engulfed in flames. Afterwards, the French populace was horrified by this ghastly tragedy, a perverse playing on the edge of madness and death nearly killing their King.


And here is what the author has to say about the young man who concocted the wood savage idea, “The deviser of the affair “cruelest and most insolent of men,” was one Huguet de Guisay, favored in the royal circle for his outrageous schemes. He was a man of “wicked life” who “corrupted and schooled youth in debaucheries,” and held commoners and the poor in hatred and contempt. He called them dogs, and with blows of sword and whip took pleasure in forcing them to imitate barking. If a servant displeased him, he would force the man to lie on the ground and, standing on his back, would kick him with spurs, crying, “Bark, dog!” in response to his cries of pain.” All of the chapters are chock full with such sadistic and violent sketches.

Speaking of the populate, there is plenty of detail on the habits and round of daily life of the common people. And, of course, there is a plethora of detail on the lives of the upper classes. Here is a snippet of one description: “In the evening minstrels played with lutes and harps, reed pipes, bagpipes, trumpets, kettle drums, and cymbals. In the blossoming of secular music as an art in the 14th century, as many as thirty-six different instruments had come into use. If no concert or performance was scheduled after the evening meal, the company entertained each other with song and conversation, tales of the day’s hunting, “graceful questions” on the conventions of live, and verbal games.”

As in any age, it makes for more comfortable living being at the top rather than at the bottom of the social scale. And all those musical instruments speak volumes about how the 14th century was a world away from the plainchant of the early middle ages. In a way, the 14th century musical avant-garde fit in well with the fashions of the times: extravagant headdresses, multicolored, bejeweled jackets and long pointed shoes. For those who had the florins, overindulgence was all the rage.



Ms. Tuchman offers ongoing commentary: for example, regarding military engagement, she cites how the 14th century nobility was too wedded to the idea of glory and riding horses on the battlefield to be effective against the new technology of the long-bow and foot soldiers with pikes. And here is a general, overarching comment about the age, “The times were not static. Loss of confidence in the guarantors of order opened the way to demands for change, and miseria gave force to the impulse. The oppressed were no longer enduring but rebelling, although, like the bourgeois who tried to compel reform, they were inadequate, unready, and unequipped for the task.” Indeed, reading about 14th century economic upheaval one is reminded of Karl Marx’s scathing observations four hundred years later.

On a personal note, my primary interests are literature and philosophy; I usually do not read history. However, if I were to recommend one history book, this is the book. Why? Because Ms. Tuchman’s work is not only extremely well written and covers many aspects of the period’s art, music, literature, religion and mysticism, but the turbulent, transitional 14th century does truly mirror our modern world. Quite a time to be alive. show less

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