Among the large number of history-chanting poems in modern Japan, the voluminous serial poems take up a considerable proportion and with their rich and unique connotations, are important texts for analyzing Japanese modes of action and thinking as well as their national character. In terms of the object of chanting, these modern history-chanting poems can be divided into three different civilized worlds: Japan, China and the Western world. The poems chanting Japanese history attached great importance to the theme of being loyal to the Emperor and pious to their ancestors. A significant number of serial poems of this category started by praising the great achievements of the Creator and the ancestral god, and advocated the unrivaled regime of the Emperor's ruling. They described his subjects as the descendants and the chosen people of gods so that the authority of the Emperor was asserted. Poets wholeheartedly eulogized Kusunoki Masashige, the dynasty-rescuing hero, so as to model the people into loyal warriors and obedient subjects who obeyed the king. This kind of eulogy exerted an unneglectable influence on Japan's resorting to militarism. The inclusion of Syuntenou, the fabled king who usurped the throne of the Ryukyu empire, and Zheng Chenggong, the national hero who recovered Taiwan into the category of chanting history, was a vain attempt to prove that Ryukyu and Taiwan had belonged to Japan since ancient times, and to provide a valid foundation for Japanese territorial claims. Poets at that time also praised Toyotomi Hideyoshi who had invaded Korea, highlighting the national willpower of modern Japan to worship military force and to expand its territory. The poems which chanted Chinese history had a clear Confucian tonestrong moral inclination and a deep insight into life and history. Tsunoda Shunsaku's History Chanting Poems in Quatrain Form is such an example. The author contemplated and amended the idea of monarch and subject, individual destiny and historical situation. These poems can rival Chinese masterpieces in depth of thought and artistic achievements. His evaluations of Zhao Pu, Li Si, Zhu Maichen, Li Longji, Li Guang, etc. are incisive and penetrating. Reprehending Li Guang's slaughter of innocent people while sympathizing with his ″repeated misfortunes″ at the same time, he set himself up as a shining example of democracy. Among the poems chanting the Western history, Kawaguchi Hiroshi's One Hundred Poems on Overseas History in Quatrain Form represented the highest level of artistic achievements, and played the role of introducing world history to modern Japanese people. The anthology gave an overview of the Genesis and other Western religious ideas, asserting that Western religion restrained the mind, that it deprived people of freedom of belief, and that ″the rescue religion is actually a killing religion.″ It denounced British opium smuggling which caused great suffering to the Chinese, claiming that the British grabbed huge profits from wars, and stated frankly that ″the civilized men are actually inhuman.″ It praised original scientific inventions, which is very different from the tradition of Chinese history-chanting poetry which seldom valued science. Moreover, it paid a high tribute to Bismarck, the German prime minister for his independent policy in politics and culture, and embodied the valuable aspiration of undertaking a road of development with national characteristics. Han poems in Japan are the derivative of Chinese literature, and is an indivisible part of Japanese literature. Its contribution to shaping the national character and to breeding modern culture cannot be overlooked. The modern history-chanting poetry of Japan is a significant part of East Asian Han literature and contains distinct emotional experiences and value judgment in its exposition of oriental and occidental cultures and histories. The study on the modern history-chanting poetry of Japan has significant implications for examining Japanese national character and East Asian han literature.