Shobō, 2012), Sawai Kei’ichi’s study of Ansai (Minerva Shobō, 2014), or Wakao Masaki’s scholarship on Shōeki and early modern intellectual formation, to name only a few, could have provided a fresher perspective on these authors and helped revise our usual understanding of their work. If these “omissions” were deliberate, and one cannot think they weren’t in the case of prominent scholars in the fi eld such as Kurozumi Makoto or Koyasu Nobukuni, there is no doubt that readers would have benefi ted greatly from a discussion in which the author could have engaged with these specialists. Sueki Fumihiko’s edition of the Myōtei mondō (Hōzōkan, 2014) and Pierre Humbertclaude’s French translation, published in the fi rst issues of Monumenta Nipponica in 1938 and 1939, could also have been added to the bibliography, if only for the sake of comprehensiveness. However, the great achievement of this work is by no means diminished by the few regrets this reviewer had after closing the book. Richard Bowring’s summa will surely help many of us, scholars and students alike, to navigate through all these different “Ways” without losing our heads.

中文翻译：

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转型中的江户歌舞伎：从武士世界到复仇女神岛崎聪子

Shobō，2012）、Sawai Kei'ichi 对 Ansai 的研究（Minerva Shobō，2014），或 Wakao Masaki 关于 Shoeki 和早期现代知识分子形成的奖学金，仅举几例，可以为这些作者提供一个更新鲜的视角，并帮助修改我们的平时了解他们的工作。如果这些“遗漏”是有意为之，并且不能认为在黑住诚或小康信国等该领域著名学者的情况下不是这样的话，毫无疑问，读者会从讨论中受益匪浅。提交人本可以与这些专家接触。Sueki Fumihiko 的 Myōtei mondō (Hōzōkan, 2014) 和 Pierre Humbertclaude 的法语译本，分别于 1938 年和 1939 年发表在 Monumenta Nipponica 的第一期，也可以添加到参考书目中，如果只是为了全面。然而，这项工作的巨大成就并没有因为这位审稿人在合上本书后的一些遗憾而减少。理查德·鲍林 (Richard Bowring) 的总结肯定会帮助我们中的许多人，无论是学者还是学生，都可以在不失去头脑的情况下浏览所有这些不同的“方式”。