For all periods of premodern Japanese literature, and indeed, for all premodern literatures, what survives is only a portion of the writings that were produced, but this situation is more extreme for the Nara and early Heian periods than for any subsequent point in Japanese history. Until the mid seventh century literacy remained the province of specialist scribes who were employed by the Yamato Kings, rulers from the area of modern Nara and Osaka who presided over a loose federation of local potentates spanning the archipelago from Northern Kyushu to the Kanto region. The importation of Buddhism in the mid to late sixth century introduced new kinds of texts and new modes of literacy, but these too remained narrow, specialized pursuits. The legitimacy of imperial rule by Tenmu's and Jito's successors was supported by a melange of symbols and rituals with complex origins. Similarly, early Japanese poetry and prose drew on a wide range of sources, foreign and domestic.

Kyogen is Japan's classical comic theater, and also Japan's oldest dialogue-based drama. The earliest precursors to kyogen plays are thought to be irreverent skits performed along with court dances in the Nara and Heian periods. From the early 1400s Zeami and other leaders of noh troupes brought kyogen performers under their organizational umbrella, and kyogen plays have been performed as comic interludes between noh plays from that time until today. The most popular play in the current repertory, Delicious Poison, is one of the few for which one can identify an original literary source. As in the noh drama, kyogen developed many conventions of staging. The kyogen repertory stands as medieval Japan's secular and playful counterpart to the harsh, formal social values intended to govern the lives of Japanese. The core of much kyogen humor is in parody, which deconstructs and inverts specific texts or social types and norms. Kyogen maintained its traditional repertory and functions through World War II.