115:, as the opening verse of the poem, has always held a special position. It was traditional for the most honoured guest at the poetry-writing session to be invited to compose it and he would be expected to offer praise to his host and/or deprecate himself (often symbolically) while superficially referring to current surroundings and seasons. (The following verse fell to the host, who would then respond with a compliment to the guest, again, usually symbolically).
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Hearing the rice-planting songs in the fields, BashÅ composed a poem that complimented the host on the elegance of his home and regionâwhich he associated with the historical "beginnings" (
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or "cutting-word" that appears at the end of one of its three metrical units. Like all of the other stanzas, a
Japanese
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or poetic artâwhile suggesting his joy and gratitude at being able to compose linked verse or "poetry" (
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continues to be used in its original sense, as the opening verse of a linked poem.
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178:('long verses'), of their poem. The salutative requirement of the traditional
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192:(seasonal word or phrase), and to reflect the poet's current environment.
87:", and the latter term is now generally applied retrospectively to all
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in
English nowadays seldom adhere to a 5-7-5 syllable format for the
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began to appear as an independent poem, and was also incorporated in
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208:), while writing renku in the house of a station master in
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73:(in combination with prose). In the late 19th century,
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is traditionally written in a single vertical line.
99:, irrespective of when they were written. The term
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111:Within the traditions of renga and renku, the
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212:at the entrance to Michinoku, in present-day
378:, 2nd edition, Simon & Schuster, 1986,
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186:is still typically required to include a
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593:Individuals and groups of Japanese poets
204:in 1689 during his journey through Oku (
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228:fūryū no / hajime ya oku no / taue-uta
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45:orthodox collaborative linked poem,
549:List of Japanese poetry anthologies
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399:, Stanford University Press, 1998,
77:(1867â1902) renamed the standalone
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663:Articles containing Japanese poems
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357:, Kodansha International, 1985,
334:Haiku. Volume 1, Eastern culture
162:Paralleling the development of
605:Thirty-Six Immortals of Poetry
600:Japanese poets (category list)
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182:is often disregarded, but the
51:, or of its later derivative,
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658:Japanese literary terminology
336:. The Hokuseido Press, 1981.
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200:BashÅ composed the following
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91:appearing independently of
41:is the opening stanza of a
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332:Blyth, Reginald Horace.
266:) for the "first time" (
235:the rice planting songs
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353:Higginson, William J.
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374:Van den Heuvel, Cor.
233:beginnings of poetryâ
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34:lit. "starting verse"
246:trans. Haruo Shirane
61:). From the time of
643:Japanese literature
624:Articles with poems
420:, 1998. pp. 161-163
376:The Haiku Anthology
270:) in the Interior (
355:The Haiku Handbook
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155:English-language
65:(1644â1694), the
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619:Individual poems
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418:Traces Of Dreams
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397:Traces of Dreams
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237:of the Interior
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166:, poets writing
164:haiku in English
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ãã®åãããã®ç°æ€ãã
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59:haikai no renga
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123:Typically, a
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75:Masaoka Shiki
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653:Haikai forms
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206:the Interior
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63:Matsuo BashÅ
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468:Major forms
174:, or other
141:includes a
16:Poetry form
637:Categories
320:References
562:Man'yÅshÅ«
214:Fukushima
610:Rokkasen
278:See also
241:â
210:Sukagawa
43:Japanese
555:KaifÅ«sÅ
407:, p.125
344:p123ff.
196:Example
107:Content
576:Kai Åi
525:senryū
483:kanshi
476:haikai
403:
382:
365:, p.20
361:
340:
313:Senryū
285:Haikai
268:hajime
256:hajime
144:kireji
127:is 17
71:haibun
583:Iroha
532:tanka
518:renku
511:renga
504:hokku
497:haiku
386:p357.
306:Renku
299:Renga
292:Haiku
264:fūryū
260:fūryū
258:) of
202:hokku
184:hokku
180:hokku
176:chÅku
172:hokku
168:renku
157:hokku
149:hokku
139:hokku
129:moras
125:hokku
113:hokku
101:hokku
97:renga
93:renku
89:hokku
84:haiku
79:hokku
67:hokku
54:renku
48:renga
21:Hokku
490:waka
401:ISBN
380:ISBN
359:ISBN
338:ISBN
189:kigo
131:(or
119:Form
81:as "
274:).
272:oku
95:or
639::
216::
134:on
31:,
28:çºå¥
453:e
446:t
439:v
248:)
244:(
57:(
38:)
25:(
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