Taketori Monogatari is, as was mentioned "Monogatari no Idekihajime no oya" (=beginning of srories), in Genji Monogatari, the starting point of a Japanese story. It is not only the oldest among the extant stories, but also the very beginning of Japanese fictions. In order to consider the fictional nature of Taketori Monogatari, I will compare "fiction within the fiction" in Taketori Monogatari with that in Odyssey. To consider the characteristics of those two works, I will compare fictional expressions in Monogatari (story) with those in an epic poetry, focusing on wordplays of each works.

First, I will discuss "fiction within the fiction" in Taketori Monogatari. There appears a false story which is told by one of the suitors, Kuramochi no Miko. It is important that readers are notified in advance that his story is a lie. Since the story made up by Kuramochi no Miko is elaborated, neither Okina nor Kaguyahime doubts it. This adventure story made up by Kuramochi no Miko is prepared by the author.

Secondly, I will discuss "fiction within the fiction" in Odyssey. Odysseus told false identities to other characters. This is told in order to take revenge on the suitors of Penelope (Odysseus' wife). The story that he finally told his father, Laertes, was different, because it is told after finishing the revenge.

Thirdly, in order to examine the characteristics of "fiction within the fiction" in Taketori Monogatari and Odyssey, I will discuss the difference between "itsuwari" and "soragoto." Although both are translated as "uso" (falseness) in modern Japanese, these two are different; "soragoto" is the word corresponding to something without substance, while "itsuwari" is the word used to hide the truth and to have someone believe something wrong. "Soragoto" is a word which has nothing to refer to. "Itsuwari" implies that it is used to deceive people, hiding the truth. "Fiction within the fiction" in Taketori Monogatari can be "soragoto," while that in Odyssey can be "itsuwari." Odysseus' fifth fiction can be "soragoto," since it is not hiding the truth, but he seems to enjoy making up the story.

Taketori Monogatari and Odyssey both embed fictions their characters tell, being aware of their fictional nature. The measures of expressions, however, are different. In order to explore their characteristics, I will compare the wordplays of the two works.

The wordplays in Taketori Monogatari is Gogen-tan (=story about word origin). The word origin is told, based on the content of the story and each episode all in Hiraganas. On the other hand, wordplays of Odyssey are sound-oriented, as seen in the episode of the cyclops Polyphemus in book 9. Thus, expressions of wordplays in Taketori Monogatari are established through letters (Hiragana), while those in Odyssey are established through sounds. This difference also reflects the cultural difference. Monogatari is in the world of letters while the epic poetries are in the world of voice.

Taketori Monogatari and Odyssey, both having fictions in them, share the recognition of the possibility of fictions in writing and speaking.