In this art of poetry, those who speak ill of Teika should be denied the protection of the gods and Buddhas and condemned to the punishments of hell. So opens the fifteenth-century poetic ...
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In the following excerpted preface to his translation of Japanese lyrical odes, Dickens describes the nature of these short poems first compiled by Fujiwara no Teika.
The Odes [of the Hyak Nin Is...
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In the following excerpt from his introduction to his translation of Teika's Shoji hyakushu, Brower examines the historical background and content of this varied and influential hundred-poem se...
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In the following essay, Brower recounts the manuscript history of Teika's critical treatise Maigetsusho and encapsulates the principles of poetic composition it contains.
The single most inf...
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In the following essay, Sato traces Teika's contribution to the tradition of composing long sequences of tanka (or waka) poetry, the forerunner of the later renga form.
In the following argu...
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In the following essay, Bundy evaluates the poetry of Teika's early collection Shogaku hyakushu, contrasting it with the verse of his father, Fujiwara no Shunzei, and pointing out the significa...
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In the following excerpt, Lammers asserts Teika's authorship of Matsura no miya monogatari (The Tale of Matsura) and summarizes the work's story and stylistic features.
Matsura no mi...
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In the following excerpt, Bialock studies Teika's influential concept of honkadori (“allusive variation”) in the context of the development of late classical Japanese poetry.
I...
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In the following essay, Kamens offers an interpretive analysis of ten memorial waka from Teika's Shui guso collection, concentrating on the allusive intertextuality of these works.
Most Japa...
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