The Images of Seclusion:

Buddhism vs. Taoism in Shinsen Man'yōshū

Abstract

Shinsen Man’yōshū is the first anthology of waka (tanka) in the Heian period, compiled in the last decade of the 9^th century. It is well-known that there is a kanshi (qiyan jueju: four-lined seven-syllabic regulated verse in classical Chinese) in tandem with every waka, forming waka-kanshi pairs.

　Although the two sides of the pairs share many similarities in content, the kanshi are not translations of the waka. This paper focuses on the differences in the images of seclusion of the pairs, especially those including expressions about mountains.

　On the waka’s side, secluding into mountains refers to Buddhist practice, whereas on the kanshi’s side, it usually represents an ideal haven for Taoist hermits. This Buddhism vs. Taoism comparison shows that the purpose of the compiler(s) and kanshi composer(s) was to present a comparative perspective of the two literary traditions, as we know from the first volume’s preface that the kanshi were composed after the waka’s compilation.

　The perspective achieved above should not be limited within Shinsen Man'yōshū. It offers us insight into the Heian poets’ comprehension of the waka-kanshi correlation. Therefore, it is fully viable to apply the perspective in the explanation of waka in Kokin Wakashū, which was compiled about ten years later than Shinsen Man’yōshū .