Kusamura Hokusei

…Although they did not always aim for a happy ending, some of them aimed for a bright resolution, and were called “illuminating novels” (such as Nakamura Harusame’s “Fig” (1901)). The development of this genre began with Ozaki Koyo’s “Golden Demon” (1897-1902) and Tokutomi Roka’s “Hototogisu” (1898-99), and peaked with Kikuchi Yuho’s “My Sin” (1899-1900) and “Breast Sisters” (1903), followed by Kusamura Hokusei’s “Hamako” (1902) and “Ai no Kiseki” (1904). Other works that followed included Shien (1904), Taguchi Kikutei's Meoto Nami (1904), The Countess (1905), and Okura Touro's Biwa Uta (1905). These, combined with the rise of Shinpa drama through their adaptations, led to works such as Yanagawa Haruha's Nasu no Naka (A Relationship Not Born) (1912) in the Taisho period. [Oka Yasuo]...

*Some of the terminology that refers to "Kusamura Hokusei" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…必ずしもハッピー･エンドを心がけてはいないが，ときに明るい解決を目ざしたものもあり，〈光明小説〉と呼ばれた(中村春雨の《無花果（いちじく）》(1901)など)。その展開は，尾崎紅葉の《金色夜叉（こんじきやしや）》(1897‐1902)，徳冨蘆花の《不如帰（ほととぎす）》(1898‐99)あたりを先駆とし，菊池幽芳の《己が罪》(1899‐1900)，《乳姉妹》(1903)などをピークに，草村北星の《浜子》(1902)，《相思怨》(1904)，田口掬汀（きくてい）の《女夫波（めおとなみ）》(1904)，《伯爵夫人》(1905)，大倉桃郎（とうろう）の《琵琶歌》(1905)などが続出し，その脚色による新派劇の興隆と相まって，大正の柳川春葉《生（な）さぬ仲》(1912)などに及んでいる。【岡 保生】。…

※「草村北星」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報