In the following excerpt from his survey of Japanese literature, Aston summarizes the principal characteristics of the Man'yōshū and offers several translated examples of the poet...
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In the following excerpt, Ceadel comments on the distinctive qualities of the long and short poems in the Man'yōshū.
… The waka is a poem consisting of a succession of p...
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In the following excerpt, Putzar traces the development of the Man'yōshū over four periods ranging from 629 to 759 and surveys the collection's principal poetic contributor...
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In the following essay, Teele studies the structure of the Man'yōshū, submitting an outline of its contents and offering insights into its editorial organization under Ōtom...
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In the following excerpt, Wright considers love themes in the context of seventh- and eighth-century Japanese poetry.
The Manyōshū “needs no apologies,” Donald Keene wri...
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In the following excerpt, Miller probes the editorial reconstruction of the Man'yōshū over the centuries, examining the myriad ways in which the anthology has been rearranged by f...
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In the following excerpt, Konishi discusses the prevailing style of lyric composition in the Man'yōshū, emphasizing individualistic expression and technical innovation.
From Kot...
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In the following excerpt, Keene concentrates on the eulogies of Hitomaro and Okaru's “Dialogue on Poverty” as representative works within the Man'yōshū.
&#...
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In the following essay, Rimer briefly encapsulates the Man'yōshū, calling it “the first extensive record of the Japanese emotional response to the world of men and nature.&...
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In the following essay, Yiu classifies and analyzes hiyuka poetry as found in the Man'yōshū, defining such works as highly metaphorical poems of Chinese origin but removed from th...
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In the following excerpt, Keene elucidates the principal features of the Man'yōshū, including its incorporation of Chinese poetic techniques together with an aversion to Chinese w...
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In the following essay, Haga attributes three Man'yōshū elegies to a lost child to Yamanoue no Okura, and analyzes these verses in conjunction with others by Okura on similar them...
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In the following essay, Kugé analyzes a poem by Kakinomoto no Hitomaro (Man'yōshū no. 358) on the subject of communing with the dead.
Shore 1:
What does it mean to dedic...
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In the following excerpt, the Nippon Gakujutsu Shinkokai (the Japanese Classics Translation Committee) present an overview of the Manyoshu, including discussions of the political, social, and philosop...
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In the following essay, Teele critiques assorted translations of the Manyoshu, using many different verses to illustrate his conclusions.
The Manyo Anthology or Anthology for a Thousand Ages is not...
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In the following excerpt, Keene presents a concise history of translations of the Manyoshu and praises the Nippon Gakujutsu Shinkokai version for its rendering of the poems into English.
The first ...
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In the following excerpt, Yasuda offers an overview of the Manyoshu and explains what sets it apart from other Japanese poetry anthologies.
The Manyoshu is the oldest, largest, and greatest antholo...
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In the following essay, Cranston offers literary analyses of several series of poems found in the Manyoshu.
Roy Miller has brilliantly demonstrated in his Footprints of the Buddha2 that the arrange...
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In the following essay, Wilson offers a brief overview of the Manyoshu, with remarks on the wide diversity of both the poets who contributed their works and the forms in which they chose to express th...
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In the following essay, Wilson discusses Chinese influences on Japanese poetry.
The Kokinwaka-shu (Collection of Ancient and Modern Japanese Poems), the first of 21 such Imperial Anthologies, was c...
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In the following excerpt, Levy describes the nature of Japanese poetry and profiles Hitomaro and other important contributors to the Manyoshu.
The Ten Thousand Leaves is Japan's first anthol...
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In the following excerpt, Wright comments on the prevalence of love poetry in the Manyoshu.
The Manyōshū “needs no apologies,” Donald Keene writes in the introduction to...
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Critical Essay by W. G. Aston
