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The Man'yōshū is widely regarded as being a particularly unique Japanese work, though its poems and passages did not differ starkly from its contemporaneous (for Yakamochi's time) scholarly standard of Chinese literature and poetics; many entries of the Man'yōshū have a continental tone, earlier poems having Confucian or Taoist themes and ...
In his poems, he posed questions about the spiritual world and that of the other, a world that humans can’t attain. [4] Chūya's works were rejected by many publishers, and he found acceptance primarily with the smaller literary magazines, including Yamamayu, which he launched together with Hideo Kobayashi , (although on occasion Shiki and ...
Hyakunin Isshu (百人一首) is a classical Japanese anthology of one hundred Japanese waka by one hundred poets. Hyakunin isshu can be translated to "one hundred people, one poem [each]"; it can also refer to the card game of uta-garuta , which uses a deck composed of cards based on the Hyakunin Isshu .
Ikkyū 休宗純, Ikkyū Sōjun 1394–1481), eccentric, iconic, Rinzai Zen Buddhist priest, poet and sometime mendicant flute player who influenced Japanese art and literature with an infusion of Zen attitudes and ideals; one of the creators of the formal Japanese tea ceremony; well-known to Japanese children through various stories and the ...
Typical of Japanese haiku is the metrical pattern of 5, 7, and 5 on (also known as morae). Other features include the juxtaposition of two images or ideas with a kireji ("cutting word") between them, and a kigo, or seasonal reference, usually drawn from a saijiki, or traditional list of such words. Many haiku are objective in their depiction of ...
Makurakotoba are most familiar to modern readers in the Man'yōshū, and when they are included in later poetry, it is to make allusions to poems in the Man'yōshū.The exact origin of makurakotoba remains contested to this day, though both the Kojiki and the Nihon Shoki, two of Japan's earliest chronicles, use it as a literary technique.
Utamakura (歌枕, "poem pillow") is a classical Japanese rhetorical concept in which poetical epithets are associated with place names. Utamaro takes advantage of the makura ("pillow") portion to suggest intimate bedroom activity; the terms utamakura and makura-kotoba ("pillow word[s]") are used throughout the preface.
In the ninth and tenth centuries, however, notably with the compilation of the Kokinshū, the short poem became the dominant form of poetry in Japan, and the originally general word waka (和歌, "Japanese poem") became the standard name for this form. [4]