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with a lingering fragrance. Fun'ya no
Yasuhide's language is skillful, but his style is inappropriate to his content. His poems are like peddlers tricked out in fancy costumes. The language of the Ujiyama monk Kisen is veiled, leaving us uncertain about his meaning. Reading him is like trying to keep the autumn moon in sight when a cloud obscures it before dawn. Since not many of his poems are known, we cannot study them as a group in order to evaluate him. Ono no Komachi belongs to the same line as Sotoorihime of old. Her poetry is moving and lacking in strength. It reminds us of a beautiful woman suffering from an illness. Its weakness is probably due to her sex. The style of Ōtomo Kuronushi's poems is crude. They are like a mountain peasant resting under a flowering tree with a load of firewood on his back.
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retains its fragrance. Bunrin deals cleverly with topics, but his style approaches vulgarity. His poems are like peddlers tricked out in fancy dress. The language of the
Ujiyama monk Kisen is dazzling, but his poems do not flow smoothly. Reading him is like trying to keep the autumn moon in sight when a cloud obscures it before dawn. Ono no Komachi belongs to the same like as Sotoorihime of old. Her poetry is beautiful but weak, like an ailing woman wearing cosmetics. Ōtomo Kuronushi's poems belong to the line of Sarumaru of old. Although his poetry has a certain light, witty interest, the style is extremely crude, as though a peasant were resting in front of a flowering tree.
31:
211:
The Kazan
Archbishop masters style, but his flowery language bears little fruit. His poems, like a picture of a beautiful woman, move our hearts without leading to anything. The poetry of the Ariwara Middle Captain tries to express too much content in too few words. It resembles a faded flower that
200:
Among well-known recent poets, Archbishop Henjō masters style but is deficient in substance. It is no more satisfying to read one of his poems than to fall in love with a woman in a picture. The poetry of
Ariwara Narihira tries to express too much content in too few words. It resembles a faded flower
263:
poetry in the ninth century as a time when it was overshadowed by
Chinese poetry in the first part of the century and then returned to prominence by the end of the century. These narratives held that this time was a transitional period between the
224:
poetry, Tsurayuki was showing off his knowledge of those sources. Thomas
Lammare also believes that Tsurayuki picked these poets to match the six Han styles, and focuses more on how Tsurayuki claimed these styles did not properly align heart
233:言葉). On the other hand, Katagiri Yoichi believes that the inclusion of such an obscure figure as Priest Kisen, represented by a single poem, shows that Tsurayuki did not choose the six himself, but received them by some tradition.
256:, which came to supplant this list of six. This led to the creation of similar lists based on this pattern, such as the "Thirty-Six Court Lady Immortals of Poetry," and the "Thirty-Six Heian-period Immortals of Poetry."
367:
Masuda, Shigeo (1986). "Rokkasen" [The Six Poetry
Immortals]. In Inukai, Kiyoshi; Inoue, Muneo; Ohkubo, Tadashi; Ono, Hiroshi; Tanaka, Yutaka; Hashimoto, Fumio; Fujihira, Haruo (eds.).
220:
claims that they were selected because they all had distinctive personal styles in a time of homogeneity, and that by aligning them in his commentary with the six major styles of
102:
There are numerous phrases that show the conceptualization of these six as a cohesive group, but the term "Rokkasen" first appeared in an early
Kamakura-period commentary on
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and then praises these six poets of the generation preceding his own, but also critiques what he considers to be weaknesses in their personal styles.
781:
298:. Both Hidehito Nishiyama and Ryōji Shimada conclude that they believe Ninmyō is the better choice for the start of this periodization.
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286:), although there has been disagreement on when this period starts. Most of the scholars agree that it ends with the reign of
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There are varying theories on both why
Tsurayuki chose these six poets and why he chose to criticize them in this manner.
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445:. Translated by McCullough, Helen Craig. Stanford, CA: Stanford University Press. 1985. pp. 257–8.
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Additionally, all but one of the
Rokkasen, Ōtomo Kuronushi, appear in the famous collection of poetry,
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421:. Translated by McCullough, Helen Craig. Stanford, CA: Stanford University Press. 1985. p. 7.
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poetry of this period, some scholars have referred to it as the Rokkasen Period (六歌仙時代
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had a lasting legacy on poetic scholarship both in the pre-modern and modern periods.
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518:. Cambridge, Massachusetts: Belknap Press of Harvard University Press. p. 818.
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Brocade by Night: 'Kokin Wakashū' and the Court Style in Japanese Classical Poetry
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Many Japanese scholars of the twentieth century conceptualized the history of
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83:(c. 905–14) as notable poets of the generation before its compilers.
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Uncovering Heian Japan: An Archaeology of Sensation and Inscription
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393:. Stanford, CA: Stanford University Press. pp.
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In their original appearance in the prefaces of the
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443:Kokin Wakashū, With Tosa Nikki and Shinsen Waka
419:Kokin Wakashū, With Tosa Nikki and Shinsen Waka
474:. Durham, NC: Duke University Press. pp.
191:His criticism in both prefaces is as follows:
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99:are not actually referred to with this term.
176:, Ki no Tsurayuki first praises two poets,
58:of the mid-ninth century who were named by
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371:(in Japanese). Meiji Sho-in. p. 1083.
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27:Japanese poets named in poetry anthology
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707:List of Japanese poetry anthologies
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542:Nishiyama, Hidehito (March 2007).
344:Nishiyama, Hidehito (March 2007).
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172:In his prefaces to the anthology
568:Shimada, Ryōji (February 1970).
385:McCullough, Helen Craig (1985).
572:[The Rokkasen Period].
546:[The Rokkasen Period].
503:. Tokyo: Kodansha. p. 244.
348:[The Rokkasen Period].
763:Thirty-Six Immortals of Poetry
758:Japanese poets (category list)
574:Kokubungaku kaishaku to kanshō
548:Kokubungaku kaishaku to kanshō
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499:Katagiri, Yoichi (1998).
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52:, "six poetry immortals")
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514:Frédéric, Louis (2002).
466:Lamarre, Thomas (2000).
18:Six Immortals of Poetry
278:. When discussing the
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178:Kakinomoto no Hitomaro
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822:Six Poetic Geniuses
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544:"Rokkasen no jidai"
346:"Rokkasen no jidai"
241:The concept of the
143:Ariwara no Narihira
118:The members of the
87:History of the term
853:Fun'ya no Yasuhide
848:Ōtomo no Kuronushi
516:Japan Encyclopedia
161:Fun'ya no Yasuhide
131:Ōtomo no Kuronushi
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428:978-0-8047-1258-3
250:Fujiwara no Kintō
182:Yamabe no Akahito
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843:Kisen Hōshi
626:Major forms
554:(3): 46–54.
222:Han dynasty
149:Kisen Hōshi
873:Categories
838:Sōjō Henjō
525:0674007700
328:References
157:, 17 poems
155:Sōjō Henjō
145:, 30 poems
139:, 18 poems
95:, the six
720:Man'yōshū
271:Man'yōshū
133:, 3 poems
108:Sanryūshō
106:, titled
768:Rokkasen
580:(2): 42.
356:(3): 46.
311:See also
243:rokkasen
186:rokkasen
163:, 1 poem
151:, 1 poem
120:rokkasen
97:rokkasen
54:are six
43:Rokkasen
713:Kaifūsō
114:Members
62:in the
36:Hokusai
734:Kai Ōi
683:senryū
641:kanshi
634:haikai
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237:Legacy
231:kotoba
227:kokoro
741:Iroha
690:tanka
676:renku
669:renga
662:hokku
655:haiku
395:313–4
110:三流抄.
648:waka
520:ISBN
480:ISBN
478:–7.
447:ISBN
423:ISBN
399:ISBN
280:waka
274:and
266:waka
261:waka
180:and
71:mana
68:and
65:kana
41:The
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294:or
49:六歌仙
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