Kinsei Bungei
Online ISSN : 2432-1508
Print ISSN : 0387-3412
ISSN-L : 0387-3412
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Volume 108
Displaying 1-4 of 4 articles from this issue
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  • A Comprehensive Review of Kagashi-shū
    Satoru Satō
    2018 Volume 108 Pages 1-16
    Published: 2018
    Released on J-STAGE: January 31, 2019
    DOIhttps://doi.org/10.20815/kinseibungei.108.0_1
    JOURNAL FREE ACCESS
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    The aim of this article is to make a comprehensive review of Kagashi-shū, a collection of poems by Hinaya-Ryūho and his disciples. First, I will point out that the anthology was not published in the third year of the Kanbun Period but actually in the third year of the Meireki Period because the editor Isaka-Shunsei had been working on it until the New Year’s day of the same period. Second, I will outline his editorial policy for the five-volume anthology although only the two volumes are now extant. Third, I will provide Shunsei’s biographical data while critically referring to the account of his career in Kokkei-taihei-ki. In so doing I will also examine his relations to the poets in the anthology whose profound knowledge about the popular culture of Edo made it more sophisticated and urban than Monowasure-gusa, a rival anthology compiled by Kanda-Teisen who mainly selected works by the poets of Owari. Finally, I will consider the poetical circle of Kyoto’s reception of both Kagashi-shū and Monowasure-gusa. In Kokkei-taihei-ki, Shunsei is defined as a member of Yasuhara-Teishitsu’s group while Teisen as one of Kitamura-Kigin’s group. This classification reflects the disruption of the poetical circle of Kyoto brought about by confrontation between Yasuhara-Teishitsu, Yamamoto-Saimu, and Kiyamura-Kigin after Matsunaga-Teitoku’s death.
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  • The Social Function of Haiku and Renga in Nishiyama-Sōin’s Buddhist Life
    Chika Ozaki
    2018 Volume 108 Pages 17-36
    Published: 2018
    Released on J-STAGE: January 31, 2019
    DOIhttps://doi.org/10.20815/kinseibungei.108.0_17
    JOURNAL FREE ACCESS
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    It is often said that Nishiyama-Sōin, the master of renga linked verse, had started rendering haiku poems as a hobby since he became a Buddhist priest. This article will point out the falsehood of this view to review what it was to make renga and haiku poems in his literary and religious career. He actually started haiku not as a hobby but for a more practical purpose; he became so much engaged in social intercourse after entering the priesthood that he exploited haiku to facilitate his public life. This is why he used a different poetical pseudonym according to whom he entertained. Taking advantage of the rise of Ōbaku, the third sect of Zen Buddhism, Sōin gained a good reputation as a haiku poet with his songs of the culture of western Japan. Meanwhile he also continued to play a leading role in the renga circle of Ise Shrine. In short, he shrewdly adopted a double persona as a renga master and as a haiku poet to attain secular popularity.
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  • [title in Japanese]
    Akira Suzuki
    2018 Volume 108 Pages 37-51
    Published: 2018
    Released on J-STAGE: January 31, 2019
    DOIhttps://doi.org/10.20815/kinseibungei.108.0_37
    JOURNAL FREE ACCESS
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  • [title in Japanese]
    Izumi Haraguchi
    2018 Volume 108 Pages 53-66
    Published: 2018
    Released on J-STAGE: January 31, 2019
    DOIhttps://doi.org/10.20815/kinseibungei.108.0_53
    JOURNAL FREE ACCESS
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