The period from the third century to the end of the sixth is called
the Yamato period, from the place name of the cultural center of the
period. This was the period when Kagura, the ancient drama, had just
sprung up, and, once the basis was completed for its establishment as
drama, it became the kernel of primitive drama. The myths of the
Heavenly Cave (Ama no Iwato) and Luck of the Sea and Luck of
the Mountain (Umi-sachi Yama-sachi) appear in the oldest histories
of Japan, written in the next period -- Kojiki or Record of Ancient
Matters (712) and Nihon Shoki or Chronicles of Japan (720) -- as events of
the remote Age of the Gods, but in reality they reflect the actual as-
pects of Kagura as it existed in this early period. Likewise, there are
many instances of close relationships between myths and Kagura.
Also, large numbers of folk tales, legends, and more than two hundred
songs quoted in the two history books just mentioned and in topo-
graphical works called Fudoki ( eighth century) supplied materials for
other types of ancient drama. All these theatrical arts of the primitive
age, including Kagura and other secular plays, were crude and simple,
but they gave frank expression to the emotions and feelings of the
people of the time. Kagura, in particular, because it was an offering
to the august gods, or was drama concerning gods, was created and
produced with deliberate care, and so its position was maintained more
securely than were the positions of other primitive dramatic arts in
antiquity.

This period was far less subject to the influence of continental culture
than the periods that followed. It was a period when, generally speaking,
the traditional Japanese arts were guarded and fostered. Some degree
of ties with the Asian continent, however -- with China and India in
particular and the Korean peninsula to a lesser degree -- had existed since
remote antiquity, and was reflected in myths and folklore. From the
third century on, clear evidence of such contacts is to be found in
politics, economy, and culture. Then, between 538 and 552, Buddhism
was introduced to Japan, to exert an enormous and profound influence
on religion, thought, learning, material civilization, and even the
people's feeling and sensitivity -- on both material and spiritual planes --
for long periods to come. Along with this, Gigaku as a regular type of
ancient drama was to some extent introduced, and part of Bugaku also,
to Japan. Toward the end of this period, a new age began to unfold
both for Japan and for ancient drama.

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