During Yoshimasa's reign, the aesthetic taste of the Japanese was shaped: the n› theater flourished, Japanese gardens were developed, and the tea ceremony had its origins in a small room at the Silver Pavilion. Flower arrangement, ink painting, and shoin-zukuri architecture began or became of major importance under Yoshimasa. Poets introduced their often barely literate warlord-hosts to the literary masterpieces of the past and taught them how to compose poetry. Even the most barbarous warlord came to want the trappings of culture that would enable him to feel like a civilized man. This long-neglected but critical period in Japanese history at last has the thorough treatment it deserves.

This is an account of the growth and uses of Western learning in Japan from 1720 to 1830. These are the dates of the beginning of official interest in Western learning and of the expulsion of Siebold from the country, the first stage of a crisis that could be resolved only by the opening of the country of the West. The century and more included by the two dates was a most important period in Japanese history, when intellectuals, rebelling at the isolation of their country, desperately sought knowledge from abroad. The amazing energy and enthusiasm of men like Honda Toshiaki made possible the spectacular changes in Japan, which are all too often credited to the arrival of Commodore Perry. The author chose Honda Toshiaki (1744-1821) as his central figure. A page from any one of Honda's writings suffices to show that with him one has entered a new age, that of modern Japan. One finds in his books a new spirit, restless, curious and receptive. There is in him the wonder at new discoveries, the delight in widening horizons. Honda took a kind of pleasure even in revealing that Japan, after all, was only a small island in a large world. To the Japanese who had thought of Chinese civilization as being immemorial antiquity, he declared that Egypt's was thousands of years older and far superior. The world, he discovered, was full of wonderful things, and he insisted that Japan take advantage of them. Honda looked at Japan as he thought a Westerner might, and saw things that had to be changed, terrible drains on the country's moral and physical strength. Within him sprang the conviction that Japan must become one of the great nations of the world.

Frog in the Well is a vivid and revealing account of Watanabe Kazan, one of the most important intellectuals of the late Tokugawa period. From his impoverished upbringing to his tragic suicide in exile, Kazan's life and work reflected a turbulent period in Japan's history. He was a famous artist, a Confucian scholar, a student of Western culture, a samurai, and a critic of the shogunate who, nevertheless, felt compelled to kill himself for fear that he had caused his lord anxiety. During this period, a typical Japanese scholar or artist refused to acknowledge the outside world, much like a "frog in the well that knows nothing of the ocean," but Kazan actively sought out Western learning. He appreciated European civilization and bought every scrap of European art that was available in Japan. He became a painter to help his family out of poverty and, by employing the artistic techniques of the West, achieved great success with his realistic and stylistically advanced portraits. Although he remained a nationalist committed to the old ways, Kazan called on the shogunate to learn from the West or risk disaster. He strove to improve the agricultural and economic conditions of his province and reinforce its defenses, but his criticisms and warnings about possible coastal invasions ultimately led to his arrest and exile. Frog in the Well is the first full-length biography of Kazan in English, and, in telling his life's story, renowned scholar Donald Keene paints a fascinating portrait of the social and intellectual milieus of the late Tokugawa period. Richly illustrated with Kazan's paintings, Frog in the Well illuminates a life that is emblematic of the cultural crises affecting Japan in the years before revolution.