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 philosophical background to the collection.

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 their political dimension.

In the following essay, Cranston offers literary analyses of several series of poems found in the Manyoshu.

In the following excerpt, Konishi discusses the prevailing style of lyric composition in the Man'yōshū, emphasizing individualistic expression and technical innovation.

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 themes.

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 focusing on an author of seven Old Japanese poems in the collection, Kasa Maro, better known as the Priest Manzei.

In the following excerpt, Levy describes the nature of Japanese poetry and profiles Hitomaro and other important contributors to the Manyoshu.

In the following essay, Kugé analyzes a poem by Kakinomoto no Hitomaro (Man'yōshū no. 358) on the subject of communing with the dead.

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 Ōtomo Yakamochi and others.

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 contributors.

In the following essay, Teele critiques assorted translations of the Manyoshu, using many different verses to illustrate his conclusions.

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 words, and compares the reputations of the anthology's major contributors.

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 poetry it contains.

In the following excerpt, Keene concentrates on the eulogies of Hitomaro and Okaru's “Dialogue on Poverty” as representative works within the Man'yōshū.

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.

In the following excerpt, Yasuda offers an overview of the Manyoshu and explains what sets it apart from other Japanese poetry anthologies.

In the following excerpt, Wright comments on the prevalence of love poetry in the Manyoshu.

In the following excerpt, Wright considers love themes in the context of seventh- and eighth-century Japanese poetry.

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 themselves.

In the following excerpt, Ceadel comments on the distinctive qualities of the long and short poems in the Man'yōshū.

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.”

In the following essay, Wilson discusses Chinese influences on Japanese poetry.