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Poetry and prose in the Japanese era
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The Man'yōshū and the Kokinshū are two of the most famous poetry collections in Japan. Both had a significant role in laying the foundation for Japanese literature.
The Man’yōshū is the earliest existing private collection of Japanese poetry compiled in 759 CE. During the Nara period when the Japanese were massively importing everything from culture to bureaucratic systems to literature from China, the Man’yōshū was created to differentiate Japanese poetry or waka from Chinese poetry. It is also known for containing poets from various social classes and areas in Japan. This is particularly unique since the later anthologies compiled under imperial order were exclusive to the aristocracy. Moreover, the poetic voices of the aristocracy were not laden with the Chinese ideals.
There were many compilers for the Man’yōshū but its most well known compiler is Ōtomo no Yakamochi who compiled the last four volumes of it. Although the translation of the title Man’yōshū literally means “collection of ten thousand leaves” it actually only contains 4,516 poems. It is possible that the “leaves” could refer to words rather than the actual poems.
Besides the content of the anthology, the writing system and style had profound effect too. The Man’yōshū also developed a writing system based on the script that was used in it—Man’yogana. Man’yogana, which is phonetically, applied Chinese characters that represented Japanese sound and sometimes meaning. It eventually evolved into the modern hiragana system. The dominant poetic form it is the tanka or short poems, which makes up about 4,200 poems.
Although the Man’yōshū contains no preface like some imperial anthologies, the major theme throughout the compilation was a sense of sincerity or mak...
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...for a lover. Judging by this point of view, the people back then did not believe in the idea of everlasting love.
Works Cited
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McCullough, Helen Craig. Kokin Wakashu. The first imperial anthology of Japanese poetry. Stanford: Stanford University Press, 1985. 3-7. Print.
"Kakinomoto Hitomaro." Encyclopedia of Japan. Kodansha, 2011. Web. .
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Mori, Taisanboku, et al. Poets Behind Barbed Wire. Eds. Jiro Nakano and Kav Nakano. Honolulu: Bamboo Ridge Press, 1983.
...e Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor. As one can see, a novel can serve as a primary source which students can use to dissect and examine real historical events, even if the novel is fiction. Kokoro successfully does this and assists students in understanding the Meiji Restoration and the time surrounding this era in Japan.
Gatten, Aileen. "Review: Criticism and the Genji." The Journal of the Association of Teachers of Japanese 22.1 (1988): 84. JSTOR. Web. 26 Feb. 2011.
Riichi, Yokomitsu. Shanghai. Michigan: The Center for Japanese Studies, The University of Michigan , 2001.
Ogawa, D. (1993) The Japanese of Los Angeles. Journal of Asian and African Studies, v19, pp.142-3.
The Kokinshū is the first of the Nijūichidaishū, the 21 accumulations of Japanese verse assembled at Imperial ask. It was the most powerful acknowledgment of the thoughts of verse at the time, directing the shape and organization of Japanese verse until the late nineteenth century; it was the principal compilation to separation itself into regular and love lyrics. The power of lyrics about the seasons spearheaded by the Kokinshū proceeds even today in the haiku tradition.The Japanese introduction by Ki no Tsurayuki is likewise the start of Japanese feedback as particular from the significantly more predominant Chinese poetics in the artistic circles of its day. (The compilation likewise incorporated a Classical Chinese prelude composed by Ki no Yoshimochi.) including old and in addition new lyrics was another essential development, one which was broadly embraced in later works, both in exposition and verse. The lyrics of the Kokinshū were requested transiently; the adoration sonnets, for example, however composed by various writers crosswise over huge ranges of time, are requested in a manner that the pursuer may comprehend them to portray the movement and vacillations of a cultured relationship. This relationship of one lyric to the following imprints this compilation as the progenitor of the renga and haikai conventions. The text discusses that, “The book
21 Pitts, Forrest R., Japan. p. 113. -. 22. Davidson, Judith. Japan- Where East Meets West, p. 107.
The Tale of Murasaki, by Liza Dalby, is about Murasaki, a young woman who lived in the Heian period (794-1185) of Japan. She writes a story called The Tale of Genji, and earns so much recognition for it that she is invited to court to attend the empress. Not only was she known for her writing, but she drew attention by learning Chinese. In the story, a Chinese education is essential for a man hoping to be a high-ranked member of society. Because the Japanese considered Chinese culture as superior, waka, a popular form of Japanese poetry, carries less cultural value in the novel. Therefore, both high-class women and men have to learn about wakas and use them daily. A woman who can compose good wakas and is beautiful would have the best chances of going to court, which is the best way to guarantee a comfortable life. Liza Dalby’s The Tale of Murasaki accurately portrays the abilities of each sex, the importance of Chinese learning, and the role of Japanese poetry in the Heian period of Japan.
Suzuki, Tomi. Narrating the Self: Fictions of Japanese Modernity. Palo Alto: Stanford University Press, 1996.
Gaskin, Carol. and Hawkins, Vince. The Ways of the Samurai. New York: Byron Preiss Visual
Over the course of Japanese history, arguably, no artist is more famous for their works than Katsushika Hokusai. During his 88 years of life, he produced over 30,000 pieces of artwork, and heavily influenced Western styles of art. His most famous piece was created around 1831, a Japanese styled piece titled, The Great Wave off Kanagawa. This piece has stood as a defining piece of artwork in the Japanese culture for over 180 years, analyzed by students and authors for the interpretations filling the paper. The relationship between Hokusai’s painting has directly affected the Western point of view of Japanese style. The English author, Herbert Read’s novel interprets the painting distinctly differently from a Japanese point, American poet,
In his preface of the Kokinshū poet Ki no Tsurayaki wrote that poetry conveyed the “true heart” of people. And because poetry declares the true heart of people, poetry in the minds of the poets of the past believed that it also moved the hearts of the gods. It can be seen that in the ancient past that poetry had a great importance to the people of the time or at least to the poets of the past. In this paper I will describe two of some of the most important works in Japanese poetry the anthologies of the Man’yōshū and the Kokinshū. Both equally important as said by some scholars of Japanese literature, and both works contributing greatly to the culture of those who live in the land of the rising sun.
Although Kamo no Chomei and Saigyo are both poets with reclusive backgrounds, their distinct past has strong influence on to their interpretation of nature. Saigyo, originally name Norikiyo, came from a highly reputable military background who served the capital. Whereas, Kamo no Cho mei began his career as a poet in the imperial court. Transitioning from these high class social positions to a reclusive lifestyle, Saigyo and Kamo no Cho mei’s works display a controversial understanding of the nature of life.
The Heian period(794-1185), the so-called golden age of Japanese culture, produced some of the finest works of Japanese literature.1 The most well known work from this period, the Genji Monogatari, is considered to be the “oldest novel still recognized today as a major masterpiece.”2 It can also be said that the Genji Monogatari is proof of the ingenuity of the Japanese in assimilating Chinese culture and politics. As a monogatari, a style of narrative with poems interspersed within it, the characters and settings frequently allude to Chinese poems and stories. In addition to displaying the poetic prowess that the Japanese had attained by this time period, the Genji Monogatari also demonstrates how politics and gender ideals were adopted from the Chinese.
Some people believe that there is no such thing as “true love” they believe that love is nothing but an illusion designed by social expectations. These people believe that love ultimately turns into pain and despair. This idea in some ways is true. Love is not eternal it will come to an end one way or another, but the aspect that separates true love from illusion, is the way love ends. “True Love” is much too powerful to be destroyed by Human imperfection; it may only be destroyed by a force equal to the power of love. Diotima believed that “Love is wanting to posses the good forever” In other words love is the desire to be immortal and the only way that we are able to obtain immortality is through reproduction, and since the act of reproduction is a form of sexual love, then sexual love is in fact a vital part of “True love”. Sexual love is not eternal. This lust for pleasure will soon fade, but the part of love that is immortal, is a plutonic love. You can relate this theory to the birth of love that Diotima talks about. She says that love was born by a mortal mother and immortal father. The mother represents the sexual love, the lust for pleasure. The father represents the plutonic love that is immortal. Plutonic love is defined as a true friendship, the purest of all relationships. A true plutonic love will never die; it transcends time, space, and even death.