Asai Ryōi
Section::::"Ukiyo Monogatari". is widely considered the first work to revel in the difference between Buddhist "ukiyo" and Edo period "ukiyo". "Ukiyo" was the concept that life is transitory and nothing worldly lasts forever. While the earlier Buddhist teaching concluded that one must therefore put one's energy into lasting spiritual matters that would continue to benefit one in the next life, urban Edo period ideals were more epicurean, and encouraged one to enjoy the pleasures of life as if each day were your last. The hero of the piece, Ukiyobō, is a Buddhist priest who learns enough from  a life of debauchery, gambling and general pleasure-seeking to gain enlightenment under the later guidance of his elders. The seriousness of the samurai is satirized and the liveliness of the townsman lauded. Section::::"Otogi Bōko". is an adaptation of the more spectacular tales from a Chinese Book of moralistic short stories, "Jiandeng Xinhua" ("New Tales Under the Lamplight"). The stories are changed to reflect contemporary urban life. For example, in "The Peony Lantern", the original tale's protagonist dies horribly as a result of giving in to sexual pleasure with the spirit of a dead girl - the moral message is  the need to accept impermanence and not be consumed by worldly desires. In Ryōi's version the protagonist almost saves himself from such a fate, but in the end chooses to die in his ghostly lover's arms rather than die pining for her - a celebration of real human emotions. The stories in "Otogi Bōko" fulfilled a thirst for supernatural tales and expressed the dichotomy between social obligations, or "giri", and the reality of the human experience.