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We know not only what his other wifes had been separated her husband, but what this wife of KARU is the same as the other wifes who separated her husband. When he heard the report that his wife had died in her house of KARUꡑ large road, he did not go without delay to her house. It is not because his wife is a paramour, but it is to have his enough strength in reserve of her death. because they is married couple, he went to her house, and had a funeral ceremony, and stayed in her house to take care of their baby. She is not a fictitious character, but she is his wife who is easy to have a romance becauce she lives in the roadside where many peoples go-and-come. I can regard it as approiate that this poetreies are series that it had been songed when she died.

There is a phrase, “Praise heavenly gods, pray to earthly gods” in a song 904 in Mangyousyuu. The expression of “heavenly gods” is found once and “earthly gods” is found three times, while “gods of heaven and earth” is found 23 times, in the whole book. The latter style of expression was very popular in those days. The poet Okura laid stress on a harmonized cosmic image by contrasting heaven and earth separately. However there are two contrary expression of “nether world”in reply song 905 and “heaven” in song 906 for the same meaning of death. This paper is to focus on okura's such poetic style of expression. Such expressions can not be said “contradictory”. It was caused from the free idea of Okura who pursued his own poetic world differentiated with others.

This study is to examine the meaning of Japanese and Korean theogamy myth through the method of comparative literature. In this study, theogamy myth is classified into three types according to the forms of marriage between god and human; the pregnant type, the oviparous type and the sexual intercourse type between virgin and divine snake (or dragon). In Korea, there are three types of theogamy myth. And they are distributed to areas, Gokuryo , Sinra and Bekuchoe. But Japanese theogamy myth is for the most part the sexual intercourse type between virgin and divine snake. The pregnant type and the oviparous type are found just in Ameno-Hiboko legend known as a story about naturlized person from Korea or the first visit of the ancestor of the Empress Zingu. Japanese myth settles two kinds of gods, which came from outside world (being introduced from a sea) and which have lived there from birth. They are called as gods of Emperor and local gods. It is worth noting that Japanese local gods appear in snake figures as a divine snake visits virgin in the myth of Bekuchoe and Japanese gods of Emperor have common elements to the myth of Sinra or Gokuryo . Finaly, we can find that the theogamy myth tales about the theogamy ceremony which was the most important event in ancient times of Japan and Korea. That is because, through this ceremony, people could find nations and could satisfy every human desires.

Mainstream scholars in the academic circle in Japan has adopted a view that Shilla was a subject state of Japan based on the principles of then law and regulations and applied this view when interpreting diplomatic practices implemented at that time. However, I cannot help voicing different idea on this explanation of the diplomatic practices between Shilla and Japan in this simple hierarchical relationship. Since 8th century, it seems that there might have been an implication of something more than a simple ideological one in the diplomatic relationship between Shilla and Japan even though almost all the studies on this subject previously conducted focused on this aspect. This paper attempts to look into this issue in more depth by reviewing the actual event of Dispatch of the Prince of Shilla (752) in terms of the relationship between Japan and Shilla, Consequently, it became clear that the event should be looked at interpreted from the perspective different from the simple viewpoint of Japan- regarding itself as a small China (small but great country), thinking highly of itself. In other words, conventions already established in the East Asian region, ideology in terms of law, which was present in both Japan and Shilla at that time, and domestic political situation of Japan were all combined to have an impact on Japan's diplomacy to Shilla. And most of all, Japanese Royal Court at that time put importance to the relationship with Shilla in an attempt to insist its legitimacy and wanted to actively utilize this relationship.

The purpose of the present paper is to compare an aspect of Jodokyou(淨土敎) culture between Japan and Korea. To this end, I have undertaken to show the rerationship between the legend of Queen Idaike found in the “Kanmuryojukyo(觀無量壽經)” and the story of “Niga Byakudo(二河白道)” as expounded in the “Kanmuryojukyosho(觀無量壽經疏)” of Zendo of Tang China. With regard to the story of Queen Idaike(韋提希), both the seated figure of a woman carved of stone in the Gesseji(月精寺) temple of Korea and a seated figuer found in the ruins of Shinpukuji(神福寺) temple were both modeled on Queen Idaike(韋提希). It is further thought that these stone carvings were meant to represent the Jodokyou(淨土敎) belief in Amidabutsu(阿彌陀佛) in Korea. In Japan, the story of princess Chujo(中將) was a well-known adaptation of the Queen Idaike(韋提希) legend. The essence of the story is seen in Scenes of Paradise scroll, known as the Taima Mandara(當麻曼茶羅). Princess Chujo(中將) received the Taima Mandara(當麻曼茶羅) from the incarnated Amidabutsu(阿彌陀佛) and Kannon Bosatus(觀音菩薩). She was able to enter Paradise while praying as she viewed the painting. The Taimadera(當麻寺) temple “Mukaeko(迎講)” is a popular festival in which the ascenscion of the princess into Paradise is staged. Regarding the “Niga Byakudo(二河白道)” large numbers of copise of the painting of the same name were made and distributed in Japan from the 13th century. Further, the story of the “Niga Byakudo” was widely incorporated into dreams and buddhist festivals during the early and late middle ages, among which the Mukaeko(迎講) continues to be performed. In some festivals for the dead, white cloth is used, whith is considered a legacy of the “Niga Byakudo” story. No art work comparable to the “Niga Byakudo” survives in Korea, nor in China for that matter. However, elements of the “Niga Byakudo” are strongly incorporated in the shamanistic spirit festivals. More concretely, white cloth is used in the ceremony. The ceremony in which the shaman tears white cloth to send to the departed souls of the dead is a reenactment of the story of the “Niga Byakudo”. There is also a ceremony in which vessels called “yongseun(龍船)” are laid on white cloth, and the souls of the departed ride the vessels over to the world of death. This seems very much like the “Daihatsu Nirvana Sutra” from which the story of “Niga Byakudo” is taken. In addition, I have presented several other iconographic example in this paper.