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Western influence in Japanese culture
Western influence in Japanese culture
Poetry and prose in the Japanese era
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During the Heian Period (794 – 1185 AD) in Japan, poetry became a very popular art form. Two of the most significant pieces that came out of this time period were the Manyōshū and Kokinshū. The Manyōshū was the first anthology of poems ever created and the Kokinshū was the first anthology of poems ordered by imperial rule. They are not only important because they were the beginning of recorded Japanese art, but also because they greatly influenced and represented the culture and society at that time.
When the Manyōshū was created around 759 AD, Japan wanted to create their own form of literature and poetry unique to their country. Korean and Chinese masters that taught poetry from their countries inspired the Japanese to follow suit. The Manyōshū was comprised of 4,516 waka, Japanese poems, and the different styles used in order of popularity were tanka, choka, and hanka. Poems were labeled as such, based on their syllabic pattern. Within the tanka, choka, and hanka writing techniques such as makurakotoba, pillow words, were commonly used. Formulation of these different types of poems helped to not only record folk songs, but to also create writing styles and techniques that were unique Japan.
Half of the authors in the Manyōshū are unknown, and many of them ranged from emperors to merchants to soldiers to farmers, even males and females. People of any social status were allowed to compose for the Manyōshū because as long as one could compose good poetry, one was highly revered. It is also important to note that this was a private, not imperial, collection because the authors had the freedom to write about whatever they pleased. This is significant because it was very rare to have authors from different backgrounds co...
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...t for experimenting and creating different styles of poetry amongst all classes and the Kokinshū further built upon ideas from the Manyōshū except it was more selective by limiting its authors to the high ranking class. This led to more refined art, which was the Japanese original goal, because it was written by people with more education and experience. Japanese poetry flourished during the Heian Period, and by the time the Kokinshū was created, their works were not only easily comparable to China’s, but also they were able to establish national identity.
Works Cited
Kato, Shuichi. A History of Japanese Literature From the Manyoshu to Modern Times. Abridged Edition. Surrey: Japan Library, 1997.
Roysten, Clifton W. "Utaawase Judgements as Poetry Criticism." The Journal of Asian Studies 34.1 (1974): 99. 29 May 2011. .
The two poems that I have selected for the Analytic Paper are “Blue Light Lounge Sutra For The Performance Poets At Harold Park Hotel” and “Thanks” by Yusef Komunyakaa. The former was read and analyzed as part of a class discussion early on in the quarter while the latter is a piece never analyzed, but closely related to another that was examined for its content and stylistic techniques (“Facing It”, Penguin Anthology, page 441). Though both were written by the same author, there are specific discrepancies in rhythm and wording that create artistic differences that suit the subject of each piece.
Although still adopting a traditional literary form, the poetry writing can be regarded as an example of the heterogeneity and border-crossing of cultural-scape in globalization period. Those poems were produced under the brunt of the international mobility that is propelled by the capitalist globalization, but precisely and paradoxically, in a suspending situation caused by national regulation, a “state of exception” of this mobility. The juxtaposition of the frustration on foreign life and the flare of nationalist emotion (with the rhetoric emulating ancient barbarian-expelling heroes), may imply a paradoxical consequence in globalization: the international mobility undergirding the national awareness instead of undermining it. Following this thread, the publication of this kind of poetry in 1930s, the oblivion of it after war, and the subsequent re-discovery, recognition, and research of it can be all taken as symptomatic traces of the localization, articulation, and transformation of national consciousness (both as “Chinese” and “American”) in the continuous globalization. Needless to say, those poems are deeply flawed in terms of aesthetics due to the rather poor literacy of their authors. It would be invoking to put these poems beside those “high art” works also produced in globalization context, such as the works on the Eiffel Tower and the London fog by Huang Zunxian (黄遵宪), a late Qin intellectual caught in between the East and the West, the
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.
“Until the seventeenth century, Japanese Literature was privileged property. …The diffusion of literacy …(and) the printed word… created for the first time in Japan the conditions necessary for that peculiarly modern phenomenon, celebrity” (Robert Lyons Danly, editor of The Narrow Road of the Interior written by Matsuo Basho; found in the Norton Anthology of World Literature, Second Edition, Volume D). Celebrity is a loose term at times; it connotes fortune, flattery, and fleeting fame. The term, in this modern era especially, possesses an aura of inevitable transience and glamorized superficiality. Ironically, Matsuo Basho, (while writing in a period of his own newfound celebrity as a poet) places an obvious emphasis on the transience of life within his travel journal The Narrow Road of the Interior. This journal is wholly the recounting of expedition and ethos spanning a fifteen hundred mile feat, expressed in the form of a poetic memoir. It has been said that Basho’s emphasis on the Transient is directly related to his and much of his culture’s worldview of Zen Buddhism, which is renowned for its acknowledgement of the Transient as a tool for a more accurate picture of life and a higher achievement of enlightenment. Of course, in the realization that Basho does not appear to be unwaveringly religious, perhaps this reflection is not only correlative to Zen Buddhism, but also to his perspective on his newfound celebrity. Either way, Matsuo Basho is a profound lyricist who eloquently seeks to objectify and relay the concept of transience even in his own name.
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.
The Heian period was a peaceful era that is highly regarded in Japan’s history. At this time Japan was beginning to break away from Chinese influence, thus the culture of Japan was morphing into something unique and independent from that of China. An example of resulting change was Japan’s further development of their writing system known as kana, which allowed authors to express their feelings in a more Japanese way. The Japanese court also progressed independently from China and created unique concepts and values such as miyabi “courtliness,” makoto “sincerity,” and aware “sadness of impermanence” (Hooker). The expectations put on men and women in the court during the Heian period must have been concurrent with such values.
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...
The Man’yoshu was one of the earliest texts using tanka poetry form. Tanka poetry which is written as 5-7-5-7-7 is ...
The Japanese medieval age consists of the Kamakura and Muromachi periods (from approximately 1185 to 1600). During this time, the political power was switching from the imperial family to a militaristic government. In addition, civil wars (from 1156 to 1568) were increasing throughout Japan. This change of centrality in society’s focus from court to warriors shifted the perception and style of Japanese literature.
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.
Poets were very prevalent in ancient China. Their poems often included vivid imagery of the land, romance, and praising of their leaders (“Chinese Poetry”). One of the most famous poets was Li Bai. Li Bai was also known as Li Po (“Li Bai”). Li Bai is now considered one of the greatest of the ancient Chinese poets, if not the greatest. Beginning at an early age, Li Bai had a deep love for words (“Biography of Li Bai”). When he grew up, he became a “wandering poet” (“Li Bai”). As a wandering poet, he got to meet a lot of people; eventually he became a very influential person in the Tang Dynasty. His influence would continue all the way to modern times. People often wonder what contributes to the influence a poet has on his or her community. For Li Bai, it was his love for travelling, his political positions, and his celebrity status which helped to increase the influence of his poems on everyday life in ancient China.
During the Tang Dynasty, Li Po and Tu Fu have reigned the literary world with their poetry. Their writing techniques and themes in their poetry allow them to stand out amongst other poets at the time. With the unique aspects and images these poets write about, they distinguish the similarities between themselves and contain different intensities in their poetry. While Li Po has a more relaxed tone to his poetry, Tu Fu deals with the serious aspects of life such as war, poverty, and suffering.