Abstract
In the tradition of Japanese poetry, there evolved several genres, of which the most representative are waka (or tanka) and haiku, the latter being a development of the former.
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Notes
Cf. On Japanese poetry in general including waka and haiku, see Donald Keen: ‘Japanese Literature’ (New York, 1955) pp. 22–46.
Cf. Toshihiko and Toyo Izutsu: ‘Poetry and philosophy in Japan’ (in ‘Contemporary Philosophy’ ed. R. Klibansky) (Firenze, 1971 ) p. 531.
The period in which the famous anthology of waka, Shinkokin-shû, was compiled, the early 13th century.
n Teika and his significance in the history of Japanese poetry, see ‘Fujiwara Teika’s Superior Poems of Our Time’ by Robert Brower and Earl Minor ( Tokyo, 1967 ), Introduction.
For details about these technical terms, see Kiyoshi Sanekata: Nihon Bungei Riron (‘Theories of Japanese Literature) (Tokyo, 1956).
One of the editors of the Kokin-shû, the first anthology of waka-poetry compiled by Imperial order in 905. His celebrated preface to this anthology is considered one of the earliest and most important theories of waka.
Maka Shikan (Ch. Mo Ho Chih Kuan) in 10 vols, by Master Chigi (Ch. Chih I, 538–597) is a systematic exposition of the disciplinary course of contemplation as practiced in the Tendai (Ch. T’ien T’ai) school of Buddhism.
On the possible relationship between the kokoro as understood in the Maka Shikan and kokoro as understood by Teika, see Taeko Maeda: Waka Juttairon-no Kenkyzi (‘A Study in the Theory of the Ten Modes of Waka’) (Tokyo, 1968) pp. 250–255.
On ushin, see an article by Riichi Kuriyama: Ushin (in Nihon Bungaku-ni okeru Bi-no K6zb (The Structure of Beauty in Japanese Literature’) ed. R. Kuriyama (Tokyo, 1976) pp. 91–104; also Hisaharu Kugimoto: Chûsei Karon-no Seikaku, (‘The Basic Character of the Theory of Poetry in Medieval Periods) (Tokyo, 1969 ) pp. 104–127.
Cf. Yoshinori Onishi: Yûgen-to Awaré (‘Yügen and Awaré’) (Tokyo, 1943).
Cf. Y. Onishi: Bigaku (‘Aesthetics’) vol. II (Tokyo, 1969 ) pp. 212–213.
Y. Onishi: Manyo-shu-no Shizen Kanjo (Nature-Feeling in Manyb Anthology’) (Tokyo, 1943)p. 226.
Toshihiko and Toyo Izutsu: op. cit., pp. 533–534.
Kamo-no Chbmei (1155–1216), first-rate poet and essayist in the early Kamakura period. The Mumyo-sho is his major work of the theory of poetry.
Mumyo-sho (Iwanami Series: Classical Japanese Literature, vol. 65) ed. Senichi Hisamatsu and Minoru Nishio (Tokyo, 1958 ) pp. 37–38.
Referred to by Jinichi Konishi in his Do, Chusei-no Rinen (‘The Way—a Medieval Idea’), (Tokyo, 1975) p. 171.
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Izutsu, T., Izutsu, T. (1981). The Aesthetic Structure of Waka . In: The Theory of Beauty in the Classical Aesthetics of Japan. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-3481-3_1
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