Tosa Nikki and Oku no hosomichi

Detailed travel diary is the path of the back of Tono's distant diogami and Matsuo Basho. The writer combines poetry and prose to create his own literary work and uses his own experience as a basis for his material. However, the narrow path of the back has a custom reflecting the present era, it is more contemporary than Tosa diary. Basho prefers the earliest works of famous poets such as Saigo, but some of his poems seem to be less elegant for Heian era readers.

The origin of Kiko and travel literature in Japan has been over 1000 years. One of the earliest examples of Kiko is Endo Nikki, the most probable diary written in 935 in the Heian period of Japan, Tsurugi Tree. Another important example of Kiko is that it is very similar to Tosanikki Kiso Tsuruyuki as one of the reasons that it has been separated in composition for years. A narrow northern narrow road, this is a description of the Edo period in the late 17th century.

Diary literature is Japanese journal literature type including famous works such as Tosa diary, basketball, Murasakishiki diary. Personal and literary diaries appeared and prospered during the Heian period (Christian AD 794-1192) when the diary began to imitate logs preserved by Chinese government officials. Although scholars have found a diary dating back to the 8th century, most diaries are records of daily work. At that time, Japan regarded China as a model of culture and civilization, trying to reproduce the official diary of the Chinese government. Therefore, the early diary in Japan was de facto, written in kanji, and was influenced by the view of the official male.

Tosa diary is the first remarkable example of a Japanese diary as a literature. Until that time, the word "Nikki" represented a dry official record of the government and housework written by the Chinese. On the other hand, Tosa diary is written in Japanese using a phonetic. The characters in this era used pseudonyms and Chinese sentences, but women are usually not taught by the latter but are limited to pseudonymous literature. By creating a diary from the perspective of a fictitious female narrator, Tsurayuki can avoid using kanji or quoting poetry, but instead focuses on Japanese and his poetry aesthetics .