Japanese Art Guy Riding a Japanese Sculpture Guy Riding a

Pop hero of Japanese sociology

Momotarō
A bisque doll of Momotarō.
In-universe information
Gender	Male person
Origin	Japan
Nationality	Japanese

Momotarō ( 桃太郎 , "Peach Boy") is a popular hero of Japanese folklore. His proper noun translates as Peach Tarō, a common Japanese proper noun, and is frequently translated every bit Peach Boy. Momotarō is the title of diverse books, films and other works that portray the tale of this hero.

There is a popular notion that Momotarō is a local hero of Okayama Prefecture, but this merits was invented in the modern era. This notion is non accustomed as consensus in scholarly circles.

Story [edit]

Momotarō coming out of a peach

The present conventional form of the tale (Standard Type) can be summarized as follows:^{[1] [ii]}

Momotarō was born from a giant peach, which was found floating down a river past an old, childless woman who was washing apparel there. The woman and her husband discovered the child when they tried to open the peach to consume it. The child explained that he had been bestowed past the Gods to be their son. The couple named him Momotarō, from momo (peach) and tarō (eldest son in the family). When he was just five years quondam, he was able to cut a big tree with merely an old pocketknife

When he matured into adolescence, Momotarō left his parents to fight a ring of Oni (demons or ogres) who marauded over their state, past seeking them out in the distant island where they dwelled (a place called Onigashima or "Demon Island"). En route, Momotarō met and befriended a talking dog, monkey and pheasant, who agreed to assistance him in his quest in exchange for a portion of his rations (kibi dango or "millet dumplings"). At the island, Momotarō and his animal friends penetrated the demons' fort and trounce the band of demons into surrendering. Momotarō and his new friends returned abode with the demons' plundered treasure and the demon chief as a captive.

This Standard Blazon of "Momotarō" was divers and popularized due to them being printed in schoolhouse textbooks during the Meiji Flow.^[3]

This is the result of evolution of the literary "Momotarō", which had been handwritten and printed since the early Edo menstruation into Meiji.^[ii] One meaning modify is that in most examples of Edo Menstruation literature, Momotarō was not born from a peach, but built-in naturally to the elderly couple who ate the peach and regained their youth. Such subtypes are classed every bit kaishun-gata ( 回春型 ) "rejuvenation" type, whereas the now conventional subtypes are termed kasei-gata ( 果生型 ) "birth from the fruit" type.^[two]

Development in literature [edit]

Although the oral version of the story may accept emerged during the Muromachi period (1392–1573), it may not have been set down in writing until the Edo menstruation (1603–1867).^[2] The oldest works of Momotaro known to take existed had been dated to the Genroku era (1688–1704) or perchance earlier.^{[4] [5]}

Edo flow [edit]

These older texts from around the Genroku era (e.m. Momotarō mukashigatari) are lost,^[5] merely surviving examples of later dates, such every bit the reprint Saihan Momotarō mukashigatari (c. 1777^[a]) purportedly preserve the older tradition, and class the first (most primitive) group of texts according to Koike Tōgorō [ja].^[7] The late engagement of the reprint has sometimes caused information technology to exist classed as kibyōshi ("yellow embrace") or later type of kusazōshi literature, but information technology should properly exist classed as akahon ("carmine book") or early type.^{[8] [b] [c]}

A second group of texts, which Koike considered to exist younger, includes the miniature akahon, Momotarō ( 『もゝ太郎』 ), printed in Kyōhō 8 (1723).^{[d] [12]} This miniature book is at present considered to be the oldest surviving copy of any written Momotarō story.^{[xiii] [xiv]}

Whether belonging to the first or second groups, texts from the Edo Period generally follow the aforementioned general plot as the modernistic standard versions but exhibit certain differences in detail.

Dumpling, kindling, animals [edit]

Momotarō is not supplied with kibi dango ("millet dumplings"); rather he is supplied with tō dango ( とう団子 ) and other treats in the oldest Genroku era texts and the first group.^[xv] In the first group, the old human goes out to cut grass, rather than to cut kindling. The aforementioned three companion beasts (pheasant, monkey, and so domestic dog) appear in both groups, merely in different order.^[xvi] Though the order of the animals is not significant to the story, the most mutual order the appear is the dog, the monkey, and then the pheasant. In every variation, all three animal companions agree to help Momotarō in exchange for a portion of his food.

Birth from peach [edit]

Equally noted above, in nigh of the Edo Period books, peach boy is non built-in from the peach only from the woman who consumes the peach and grows years younger in historic period. Both the first and second groups consist entirely of "rejuvenation" types. The "birth from the peach" type examples (such equally the version in Takizawa Bakin's 1811 essay Enseki zasshi  [ja] "Swallowstone Miscellany") are found among tales that have deviated further, which Koike assigns to a third grouping of texts.^[16] While "birth from the peach" version has not been confirmed in earlier written texts from the Edo Menstruum, one tantalizing sculpture dating to 1614 depicted a man standing in the middle of a dissever peach. This purported Momotarō carving at Kehi Shrine in Tsuruga, Fukui was lost during the air raids of 1945.^{[e] [17]}

Momotarō's age [edit]

Momotaro swinging the magic mallet (uchide no kozuchi), with his animal companions.

―Santō-an Kyōden (Santō Kyōden). Ehon takara no nanakusa (1804)

It was noted that the protagonist Momotarō was existence drawn progressively younger past artists over the years. In 1 subjective estimation, Momotarō appeared well-nigh historic period 30-ish until c. 1735, 25-ish upward to c. 1800, and 20-ish until the end of Edo Period in 1867.^[18]

Non every text specifies age, but in the version in Kamo no Norikiyo ( 賀茂規清 ) (1798–1861)'s Hina no Ukegi ( 雛迺宇計木 ) Momotarō'south was 15 years and six months when he set out on his expedition.^{[xix] [f]} And in Momotarō takara no kurairi (c. 1830-40), Momotarō was aged 16.^{[twenty] [21]} The Momotarō in Iwaya Sazanami's version of 1894 was of similar age (15 years old) when he resolved to go to devil isle.^{[22] [g]}

Researcher Namekawa Michio [ja] also noticed the trend of Momotarō being depicted younger and younger, and he dubbed the phenomenon "tendency of age diminishment" ( 低年齢化傾向 , teinenreika keikō ).^{[23] [24]}

Meiji period [edit]

After Japan abandoned the feudal system and entered the Meiji era, Iwaya Sazanami [ja] became a seminal figure in how the Momotaro story was shaped and became familiarized to the Japanese masses. For he was not merely the author of the Momotaro tales in his commercially successful folktale collections, but likewise a major contributor to the textbook versions.

The "Momotarō" tale was starting time incorporated into nationalized textbooks for uncomplicated schools past the Meiji government in 1887.^{[13] [26] [27]} It was subsequently omitted from the 1st edition of the National Language Reader or Kokugo tokuhon  [ja] but reappeared from the 2d edition onward to the 5th edition.^[13] It has been generally accepted that the 2nd edition reader of 1910 was de facto written by storybook author Iwaya Sazanami, who had joined the Ministry building of Education equally nonpermanent staff in 1906.^{[28] [29]}

Iwaya had already published a version of "Momotaro" (1894) for his Nihon mukashibanashi (Japanese Folktales), where Momotaro is cast every bit a military soldier or commander (shōgun) of Not bad Japan (Dainihon), dispatched on a punitive campaign to quell the ogres who live in the northeast.^{[xxx] [31]} Older texts took the punishing of oni for granted and dispensed with explaining what crimes the oni committed to deserve condemnation. But in Iwaya'south version, the ogres were explicitly stated every bit being evil beings, who devoured the "poor people" and taken "plunder" from the Emperor'south land of Nihon (Ozaki's translation^[32]), thus morally justifying Momotaro's expedition.^{[31] [33]} It has been suggested these ogres represented the Qing dynasty of Communist china since the publication occurred in the twelvemonth of outbreak of the Sino-Japanese War.^[34]

Taishō and Shōwa eras [edit]

From the 3rd edition National Language Reader (1918–1932) onwards (until the end of World War II), "Momotaro" has occupied the spot of the concluding tale in Volume ane of these nationalized elementary textbook series.^[28] Teachers in essays submitted in 1917 stated that the perception of the Momotaro tale was shifting, so that they were seen equally containing lessons of assertiveness and helping in the textile advancement of i'southward state.^[35] There was criticism from the liberalism side, for example, the novelist Yamamoto Yūzō (1925) protesting that the oni were being punished for no credible reason, and is "tantamount to telling [children] to think of foreigners as oni".^[36]

In the early Shōwa era, subsequently Emperor Hirohito assumed the throne, Momotarō continued to be used to instill patriotism (or the teachings of the Rescript on Didactics) pupils with the 4th edition National Language Reader (1933–1938) which begins with the picture of the ruddy blossom.^[37] The "Momotarō" of the 4th edition was modified then that the oni now stated "Nosotros volition no longer torment the people nor have things. Please spare our lives", and forfeits their treasures out of their own volition, thus addressing the foregoing issues (i.e., Momotarō accused of attacking oni for no legitimate reason).^[38]

The use of Momotarō in wartime propaganda against the U.South. and its Allies was discussed extensively by John Due west. Dower in his book State of war Without Mercy (1986). Dower is credited with coining the term "Momotarō prototype" in this respect.^{[39] [40]} Momotarō disappeared from Japanese textbooks at the terminate of Earth War II.^[41]

Oral variants [edit]

The story has some regional variations in oral telling.

In some variants, a red and white box is seen floating down the river, and when the red box is chosen to be recovered, Momotarō is found inside. These may be a crimson box and a blackness box, or the box may contain a peach inside. These types are ofttimes seen in the northern parts of Nihon (Tōhoku and Hokuriku regions).^{[13] [42]}

Or Momotarō may showroom the characteristic of the lazy protagonist in the Netarō  [ja] "Sleeping Boy" stories. These subtypes have been nerveless mainly in the Shikoku and Chūgoku regions.^{[43] [44]}

There are variances near the Momotarō'due south process of growth; ane is that he grew up to see the expectation of the quondam couple to be a fine boy. Some other is that he grew upwardly to be a strong but lazy person who just sleeps all mean solar day and does not do anything. Information technology is possible that the Momotarō being a fine boy version is more famous to give lessons to children. Nowadays, Momotarō is one of the most famous characters in Japan, as an ideal model for young kids for his kind-heartedness, bravery, power, and care for his parents.

Grown upwards, Momotarō goes on his journeying to defeat the demons when he hears about the demons of the Onigashima (demon island). In some versions of the story, Momotarō volunteered to go assistance the people by repelling the demons, but in some stories he was forced by the townspeople or others to keep a journey. Still, all the stories describe Momotarō defeating the Oni and live happily ever later with the old couple.

Claims every bit local hero [edit]

Momotarō now enjoys popular association with Okayama Metropolis or its prefecture, but this clan was just created in the modern era.^[45] The publication of a book by Nanba Kinnosuke entitled Momotarō no Shijitsu (1930) for instance helped the notion of Momotarō's origins in Okayama to gain wider familiarity.^[46] Still, even every bit late as the antebellum flow earlier Earth War II (1941–1945), Okayama was considered only the tertiary contender behind ii other regions known every bit Momotarō'southward homeland.^[47]

The demon island (Onigashima ( 鬼ヶ島 )) of the story is sometimes associated with Megijima Island, an island in the Seto Inland Body of water near Takamatsu, due to the vast manmade caves constitute in that location.^{[48] [49]}

Inuyama, Aichi has Momotarō Shrine [ja] with a legend associated with it.^{[50] [51]} In the 1920s and 1930s, lyricist Ujō Noguchi wrote three "folk songs" for the locality alluding to the Momotaro legend.^{[51] [h]}

English language translations [edit]

The story has been translated into English many times. "The Adventures of Piddling Peachling" appeared in A.B. Mitford's Tales of Old Japan in 1871. William Elliot Griffis published a version in 1880, which remained obscure even to researchers, even though English translations in subsequent decades apparently borrowed from Griffis'southward phraseology and employ of idiom, sometimes fifty-fifty copying outright.^{[52] [53]}

Rev. David Thompson's translation as "Little Peachling" appeared every bit the kickoff volume of Hasegawa Takejirō'south Japanese Fairy Tale series in 1885.^{[54] [55]} A second edition appeared in 1886, with a different set of illustrations, drawn by Kobayashi Eitaku^{[56] [57]}

Susan Ballard included the tale in Fairy Tales from Far Japan (1899).

Yei Theodora Ozaki included a loosely translated version in her Japanese Fairy Tales (1903); Ozaki'due south retellings were based on a version past "Sadanami sanjin" (sic., i.e., Sazanami Iwaya [ja]).^{[58] [59] [53]} Ozaki was credited with spreading Japanese folktales to the English-speaking nations by researchers such as Teiji Seta [ja].^{[i] [53]}

In that location was another English translation that used the same source every bit Ozaki and published around the aforementioned time, namely, "The Story of Peach-Boy" in Iwaya'southward Fairy Tales of Sometime Japan (1903, repub. 1914) translated by Hannah Riddell.^{[60] [61] [29] [j]} The translation of the drove was a collaborative endeavor with other translators, such as Fanny B. Greene, Tsuda Umeko and others. This latter effort was acknowledged past Iwaya himself.^{[62] [53] [63]}

Teresa Peirce Williston in her Japanese Fairy Tales, 2d Series, in 1911.

The tale was translated every bit Peach-Prince and the Demons and included in the compilation Fairy stories my children love best of all, although the compiler did non indicate its Japanese origin.^[64]

Momotarō's Song [edit]

The popular children's song about Momotarō titled Momotarō-san no Uta (Momotarō's Song) was outset published in 1911; the text's author is unattributed, while the melody was written by Teiichi Okano. The first two stanzas, with romanization and translation, are given below.^[65]

"Momotarō-san no uta"	桃太郎さんの歌	"Momotarō's Song"
Momotarō-san, Momotarō-san	桃太郎さん、桃太郎さん	Momotarō, Momotarō
Okoshi ni tsuketa kibidango	お腰につけたきびだんご	Those millet dumplings on your waist
Hitotsu watashi ni kudasai na?	一つ私に下さいな！	Won't you give me one?
Yarimashō, yarimashō	やりませう ( しょう ) 、やりませう ( しょう )	I'll give y'all one, I'll requite you one
Kore kara oni no seibatsu ni	これから鬼の征伐に	If yous'll come with me on a quest to conquer the oni
Tsuite ikunara yarimashō!	ついて行くならやりましょう	I'll requite you one

Every bit war propaganda icon [edit]

Portrayal of Momotarō as a soldier in the Japanese Imperial Regular army fighting hostile nations was already happening by the (Starting time) Sino-Japanese State of war (1894–1895).^[66] The Momotaro tale was altered by Iwaya Sazanami in 1894 then that the oni lived to the northeast of Nippon, a thinly veiled reference to Qing China given the then current geopolitics.^[67] Iwaya was not purely a major effigy in children's literature, but a government official working as the head of the editorial bureau of the Ministry of Teaching, since 1878.^[68] Iwaya would later pen a whole volume of essay on the use of Momotaro every bit an instructional tool, Momotarō-shugi no kyōiku ("the Education Theory Based on Principles in Momotaro", 1915).^[69]

Comic images picturing Momotarō defending Nippon against Oni representing Russian "Northern Devils" were given out during the 1904–1905 Russo-Japanese War.^[lxx]

Momotarō was an immensely popular figure in Japan during World War Two, appearing in many wartime films and cartoons.^[71] Momotarō represented the Japanese government, and the enemy states, namely the Allies, afterward including the U.s. was symbolized by the oni, the demonic figure.^[72] One wartime film, in which Momotarō and his animals mountain on a military operation for the Japanese Armed Forces (against the British) is Momotarō's Divine Sea Warriors.

Adaptations and references [edit]

• Momotaro appears as a guide and sidekick in the 2006 videogame Okami.
• Momotaro was the inspiration for the Imagin Momotaros in Kamen Passenger Den-O (2007).
• The 46th Super Sentai prove Avataro Sentai Donbrothers (2022) accept its theme loosely based on the Momotaro legend.
• Momotaro inspired the events of Tougen Anki (桃源暗鬼) a Japanese manga series written and illustrated by Urushibara Yura.

Come across also [edit]

• Kibi dango (millet dumpling)
• Kintarō
• Urashima Tarō

Explanatory notes [edit]

1. ^ An undated re-create exists, but is probably nearly coeval with a second re-create dated An'ei6 or 1777.^[vi]
2. ^ The original print must have been produced in the akahon era. The reprint bears the illustrator's name "Nishimura Shigenobu" which was the name this artist used early in his career, from Kyōhō xvi/1731 to c. Enkyō four/1747.^{[9] [10]}
3. ^ Kumooka's newspaper as well calls it an akahon ^[11]
4. ^ The championship uses the Japanese ditto mark "ゝ".
5. ^ Koike idea information technology looked similar an erstwhile homo riding a peach like a boat, and that it could non be conclusively connected to Momotarō.
6. ^ East Asian historic period reckoning applies, so it really means June in the yr he turned or will turn 15.
7. ^ The Momotarō illustrated in this piece of work appeared eighteen or 19 years old to Koike.^[18]
8. ^ 《犬山音頭》《桃太郎音頭》《犬山節》 ( "Inuyama ondo", "Momotarō ondo", "Inuyama bushi" ).
9. ^ Seta is well-known equally the Japanese translator of J. R. R. Tolkien novels.
10. ^ The bilingual 1903 edition was published by Eigaku-shimpo-sha, in 12 volumes. In 1914, the English translations were jump together equally "12 parts in 1 vol".^{[61] [29]}

References [edit]

Notes

1. ^ Antoni (1991), pp. 163–164.
2. ^ ^{a b c d} Kahara (2004), p. 39.
3. ^ Kahara (2004), p. 39, Kahara (2010), p. 53:
4. ^ Tierney (2005), p. 143.
5. ^ ^{a b} Namekawa (1981), p. 25.
6. ^ Yamasaki (2018), pp. 51–53.
7. ^ Koike (1967), pp. 23, 28ff, Koike (1972), pp. 24ff, the first (dai-ichi keitō) grouping of texts.
8. ^ Yamasaki (2018), p. 53.
9. ^ Yamasaki (2018), p. 52.
10. ^ Yoshida, Teruji 吉田暎二 (1971) [1965], Ukiyoe jiten 浮世絵事典 (in Japanese), vol. 2, Gabundo, p. 27 8
11. ^ Kumooka (2016), p. 34ff.
12. ^ Koike (1972), pp. 19ff. 24ff/
13. ^ ^{a b c d} Kahara (2010), p. 53.
14. ^ Yamasaki (2018), p. 57.
15. ^ Koike (1967), p. 21, Koike (1972), p. 26
16. ^ ^{a b} Koike (1972), pp. 24–28 (comparison nautical chart).
17. ^ Koike (1967), pp. 36–37.
18. ^ ^{a b} Koike (1972), pp. 38–39.
19. ^ Koike (1957), p. 9.
20. ^ Ifuku Sanjin (1830–1840). Momotarō takara no kurairi 桃太郎宝蔵入 (in Japanese). Utagawa Hiroshige, illustr. Sanoya.
21. ^ "Momotaro and the Ogres' Treasure Business firm". Edo Picture Books and Japanisme. National Diet Library. 2018. Retrieved 2019-04-26 .
22. ^ Ozaki (1903), p. 249, Iwaya (1904), p. 6, Iwaya (1927), p. half dozen
23. ^ Namekawa (1981), p. 99.
24. ^ Itō, Gō (2011), translated past Miri Nakamura, "Tezuka is Dead: Manga in Transformation and its Dysfunctional Discourse", Mechademia 6: User Enhanced, Minnesota University Press, p. 122, ISBN9781452933160
25. ^ Hori, Hikari (2008), Promiscuous Media: Film and Visual Culture in Regal Japan, 1926-1945, Cornell University Press, p. 251 (Annotation 39 to pages 165–173), ISBN9781501709524
26. ^ Torigoe (1983), p. 3, cited past Hori in English language.^[25]
27. ^ Namekawa (1981), p. ii, cited by Reider (2010), p. 108 in English.
28. ^ ^{a b} Kahara (2010), p. 55.
29. ^ ^{a b c} Rogala, Jozef (2001). A Collector'south Guide to Books on Nihon in English. Taylor & Francis. pp. 102–103. ISBN9781873410912.
30. ^ Kahara (2004), p. 47, Kahara (2010), p. 66
31. ^ ^{a b} Reider (2010), p. 109.
32. ^ Ozaki (1903), p. 250.
33. ^ Koike (1972), pp. 28–29.
34. ^ Tierney (2005), pp. 118, 263
35. ^ Kahara (2010), p. 55, citing Maruyama (1917), p. 17 and Kinoshita (1917), p. 127
36. ^ Kahara (2010), p. 55, citing Yamamoto (1977), collected works, vol. 10, pp. 288ff
37. ^ Antoni (1991), pp. 161–162, 179.
38. ^ Kahara (2010), pp. 51 and English abstract.
39. ^ Kahara (2010).
40. ^ Antoni (1991), pp. 165–167.
41. ^ Reider (2010), p. 108, note iv.
42. ^ Seki (1978), pp. 81–83.
43. ^ Kahara (2004), p. 40, Kahara (2010), p. 53
44. ^ Namekawa (1981), p. 334.
45. ^ Kahara (2004), pp. 51, 61, and passim.
46. ^ Kahara (2004), pp. 44–47.
47. ^ Kahara (2004), p. 51.
48. ^ "Oni-ga-shima(or Megijima)". Archived from the original on 2008-01-ten. Retrieved 2010-09-01 .
49. ^ "Megi-jima/Ogi-jima". Takamatsu City Web Site. Archived from the original on 2010-07-31. Retrieved 2010-09-01 .
50. ^ Namekawa (1981), p. 42, 461.
51. ^ ^{a b} Michihito, Higashi 東道人 (1995) [1965], Noguchi Ujō to minyō no tabi 野口雨情詩と民謡の旅 (in Japanese), Tōseisha, p. 496, ISBN9784924440319
52. ^ Griffis (1880), pp. 62–71.
53. ^ ^{a b c d} Herring (1988), p. 100.
54. ^ Momotaro, or Little Peachling, translated past David Thompson [ダビッド・タムソン], Kobunsha, 1885
55. ^ Kok, J. P. Filedt; Heijbroek, January Frederik (1990), The Historic period of Yoshitoshi: Japanese Prints from the Meiji and Taishō Periods : Nagasaki, Yokohama and Kamigata Prints : Recent Acquisitions, Rijksprentenkabinety, p. 91, ISBN9789061791126
56. ^ Momotaro, or Little Peachling, translated by David Thompson [ダビッド・タムソン], T. Hasegawa, 1886
57. ^ Sharf, Frederic Alan (1994), Takejiro Hasegawa: Meiji Japan's Preeminent Publisher of Wood-block-illustrated Crepe-paper Books, Peabody Essex Museum, p. 63
58. ^ Herring (1988), p. 100: "..»Sadanami«. This name is a misprint of the nom de plume of Sazanami Iwaya".
59. ^ Ozaki (1903), p. v.
60. ^ Iwaya ed. & Riddell tr. (1914) "The Story of Peach-Boy".
61. ^ ^{a b} "Momotarô: The Story of Peach-Boy". One Hundred Japanese Books for Children (1868–1945). International Institute for Children's Literature, Osaka. Retrieved 7 April 2020.
62. ^ Iwaya (1904), foreword.
63. ^ Reider (2010), p. 240.
64. ^ Shimer, Edgar Dubs. Fairy stories my children love best of all. New York: Fifty. A. Noble. 1920. pp. 73-79. [1]
65. ^ "d-score 楽譜 - 桃太郎 ---- 文部省唱歌／岡野貞一". www.d-score.com.
66. ^ Kahara (2010), p. 66.
67. ^ Tierney (2010), p. 118.
68. ^ "Iwaya Sazanami, Nihon: An Illustrated Encyclopedia. Kodansha. 1993. 1 :644.
69. ^ Kahara (2004), p. 47.
70. ^ Kamada, Laurel D. (2010). Hybrid Identities and Adolescent Girls, Being "One-half in Japan". p. 37. ISBN9781847692320.
71. ^ Dower (1993), p. 253.
72. ^ Reider (2010), pp. 107ff

Bibliography

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• Dower, John W (1993) [1986]. War Without Mercy: Race & Power In the Pacific War . W.Westward. Norton & Co. ISBN0-394-50030-X.
• "Peach-Prince, and the Treasure Island". Japanese Fairy World: Stories From the Wonder-Lore of Nippon. Translated past Griffis, William Elliot. Schenectady, N. Y.: James H. Barhyte. 1880. pp. 62–71.
• Herring, Ann King (1988). "Early Translations of Japanese Fairy-Tales and Children'southward Literature". Phaedrus: 97–112.
• Iwaya, Sazanami, ed. (1904), Momotarō 桃太郎, Kōtei Nihon mukashibanashi, ane (in Japanese)
• ——, ed. (1927). "Momotarō" 桃太郎. Nihon otogibanashishū 日本お伽噺集 (in Japanese). Settai Komura (illustr.). ARS. pp. three–15.
• ——, ed. (1914) [1903]. "Momotarō: The Story of Peach-Boy". Iwaya's Fairy tales of erstwhile Japan 和英對譯 日本昔噺 英對合本. Translated by Riddell, Hannah. Tokyo: Bunyodo Tomita. pp. 35–. online via HathiTrust. Function ane of 12. Unpaginated. 42 pp.
• Kahara, Nahoko 加原奈穂子 (2004). "From Folktale Hero to Local Symbol: The Transformation of Momotaro (the Peach Male child) in the Creation of a Local Civilisation". Waseda Journal of Asian Studies. 25: 35–61.
• —— (2010). "昔話の主人公から国家の象徴へ―「桃太郎」パラダイムの形成―" [From Folktale Hero to National Symbol: the making of Momotarō prototype in Japanese Modern Age]. Bulletin, Faculty of Music, Tokyo National University of Fine Arts & Music (in Japanese). 36: 51–72. (with English abstract)
• Koike, Tōgorō 小池藤五郎 (1957), "Tokugawa jidai no Momotarō kenkyū ryakki" 徳川時代の桃太郎研究略記, Kokugo to kokubungaku (in Japanese), 34 (viii): one–10
• —— (1967), "Kobunken wo kiso to shita Momotarō setsuwa no kenkyū (I)" 古文献を基礎とした 桃太郎説話の研究(上) [A Study of "Momotaro" : Based on Erstwhile Literature (I)], The periodical of the Faculty of Messages, Risshō University (in Japanese) (26): 3–39, hdl:11266/2923
• —— (1972), "Kobunken wo kiso to shita Momotarō setsuwa no kenkyū (Two)", The Journal of the Kinesthesia of Letters, Risshō University (in Japanese) (45): three–l
• Kumooka, Azusa 雲岡梓 (2016), "Koten kyōzai to shite no Momotarō" 古典教材としての『桃太郎』 (PDF), Kokugo ronshū (in Japanese), Hokkaido University of Education, thirteen: 31–xl
• Ozaki, Yei Theodora, tr., ed. (1903). "Momotaro, or the story of the Son of a Peach". The Japanese Fairy Book. Archibald Lawman & Co. pp. 244–261.
• Namekawa, Michio 滑川道夫 (1981), Momotarō zō no henyō 桃太郎像の変容 (in Japanese), Tokyo Shoten
• Reider, Noriko T. (2010). "6. Oni and Japanese Identity: Enemies of the Japanese Empire in and out of the Regal Army". Japanese Demon Lore: Oni from Ancient Times to the Nowadays. University Printing of Colorado. pp. 104–119. ISBN9780874217940. JSTOR j.ctt4cgpqc.12.
• Seki, Keigo (1978), 日本昔話大成: 本格昔話 (in Japanese), Nomura Jun'ichi; Ōshima Hiroshi, Kadokawa
• Tierney, Robert (2005). Going native: imagining savages in the Japanese Empire (Ph. D.). Stanford Academy.
• Tierney, Robert (2010). "The Adventures of Momotarō in the S Seas: Folklore, Colonial Policy". Tropics of Savagery: The Culture of Japanese Empire in Comparative Frame. University of California Printing. ISBN0520947665. JSTOR ten.1525/j.ctt1pp80q.7.
• Torigoe, Shin [鳥越信] (1983), Momotarō no unmei 桃太郎の運命, NHK (reprint Mineruva Shobō, 2004) (in Japanese)
• Yamasaki, Mai 山崎舞 (2018). "Mukashibanashi Momotarō no henten: Saihan Momotarō mukashigatari no shomondai wo chūshin ni" 昔話「桃太郎」の変転―『再板桃太郎昔語』の諸問題を中心に―. Tamamo (in Japanese). Ferris Jogakuin University (52): 51–67.

External links [edit]

putmansureence.blogspot.com

Source: https://en.wikipedia.org/wiki/Momotar%C5%8D

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