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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
Cook, Lewis. "Introduction for Kokinshū." Japanese Text Initiative. University of Virginia Library, 31 August 2004. Web. 31 Jan 2011. .
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. .
"Kokinshū." Encyclopedia of Japan. Kodansha, 2011. Web. .
"Man'yōshū." Encyclopedia of Japan. Kodansha, 2011. Web. .
Mori, Taisanboku, et al. Poets Behind Barbed Wire. Eds. Jiro Nakano and Kav Nakano. Honolulu: Bamboo Ridge Press, 1983.
Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the 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.
Royall, Tyler. ""I Am I": Genji and Murasaki." Monumenta Nipponica 54.4 (1999): 437, 475-476. 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.
21 Pitts, Forrest R., Japan. p. 113. -. 22. Davidson, Judith. Japan- Where East Meets West, p. 107.
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,
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
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.
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
The Man’yōshū (Collection of a Myriad) is an anthology of poetry with some 4,500 poems. The Man’yōshū is one the first anthologies of Japanese poetry but by some scholars it is considered one of the finest. In his book Japanese Culture author Paul Varley describes the poems of the Man’yōshū as follows, “Some of the Man’yōshū poems are spuriously attributed to emperors and other lofty individuals of the fourth and fifth centuries, an age shrouded in myth, and a great many more are anonymous” (43). Many poem anthologies have come and gone over the rich history of Japan but there are some key features of the Man’yōshū that keeps it apart from the many other anthologies. One of the key features is that it can be said that the poems found therein were not just written by the nobility but the hand of many classes of society contributed to the works of poetry within the anthology. From the peasants to the frontiers guards men to even the paupers of Japans societies contributed to this great anthology. Though some modern scholars believe tha...
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.
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.