190:
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.
201:
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.
20:
200:
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
189:
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
252:
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
213:
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
222: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.
245:, 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."
356:
Masuda, Shigeo (1986). "Rokkasen" [The Six Poetry
Immortals]. In Inukai, Kiyoshi; Inoue, Muneo; Ohkubo, Tadashi; Ono, Hiroshi; Tanaka, Yutaka; Hashimoto, Fumio; Fujihira, Haruo (eds.).
209:
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
91:
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
770:
598:
177:
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.
439:
415:
695:
287:. Both Hidehito Nishiyama and Ryōji Shimada conclude that they believe Ninmyō is the better choice for the start of this periodization.
64:
801:
472:
391:
275:), although there has been disagreement on when this period starts. Most of the scholars agree that it ends with the reign of
751:
512:
305:
242:
591:
205:
There are varying theories on both why
Tsurayuki chose these six poets and why he chose to criticize them in this manner.
877:
887:
584:
882:
872:
746:
867:
794:
206:
166:
622:
434:. Translated by McCullough, Helen Craig. Stanford, CA: Stanford University Press. 1985. pp. 257–8.
841:
836:
290:
Additionally, all but one of the
Rokkasen, Ōtomo Kuronushi, appear in the famous collection of poetry,
149:
119:
715:
292:
238:
821:
410:. Translated by McCullough, Helen Craig. Stanford, CA: Stanford University Press. 1985. p. 7.
131:
708:
276:
259:
464:
787:
508:
468:
435:
411:
387:
383:
376:
280:
170:
456:
310:
68:
629:
607:
284:
48:
44:
846:
271:
poetry of this period, some scholars have referred to it as the Rokkasen Period (六歌仙時代
137:
125:
234:
had a lasting legacy on poetic scholarship both in the pre-modern and modern periods.
861:
636:
457:
701:
507:. Cambridge, Massachusetts: Belknap Press of Harvard University Press. p. 818.
378:
Brocade by Night: 'Kokin Wakashū' and the Court Style in Japanese Classical Poetry
210:
248:
Many Japanese scholars of the twentieth century conceptualized the history of
722:
671:
19:
826:
143:
558:
532:
334:
24:
779:
72:(c. 905–14) as notable poets of the generation before its compilers.
459:
Uncovering Heian Japan: An Archaeology of Sensation and Inscription
831:
729:
678:
664:
657:
650:
643:
576:
59:
53:
783:
580:
382:. Stanford, CA: Stanford University Press. pp.
80:
In their original appearance in the prefaces of the
765:
739:
688:
614:
375:
432:Kokin Wakashū, With Tosa Nikki and Shinsen Waka
408:Kokin Wakashū, With Tosa Nikki and Shinsen Waka
198:
187:
463:. Durham, NC: Duke University Press. pp.
180:His criticism in both prefaces is as follows:
36:
795:
592:
88:are not actually referred to with this term.
8:
165:, Ki no Tsurayuki first praises two poets,
47:of the mid-ninth century who were named by
802:
788:
780:
599:
585:
577:
360:(in Japanese). Meiji Sho-in. p. 1083.
279:, but disagree on whether it begins with
740:Individuals and groups of Japanese poets
18:
16:Japanese poets named in poetry anthology
322:
241:compiled an expanded list known as the
552:
550:
7:
526:
524:
369:
367:
328:
326:
696:List of Japanese poetry anthologies
531:Nishiyama, Hidehito (March 2007).
333:Nishiyama, Hidehito (March 2007).
14:
161:In his prefaces to the anthology
557:Shimada, Ryōji (February 1970).
374:McCullough, Helen Craig (1985).
561:[The Rokkasen Period].
535:[The Rokkasen Period].
492:. Tokyo: Kodansha. p. 244.
337:[The Rokkasen Period].
752:Thirty-Six Immortals of Poetry
747:Japanese poets (category list)
563:Kokubungaku kaishaku to kanshō
537:Kokubungaku kaishaku to kanshō
339:Kokubungaku kaishaku to kanshō
306:Thirty-Six Immortals of Poetry
243:Thirty-Six Immortals of Poetry
1:
173:, from the period before the
689:Poetry works and collections
111:, and their total poems in
904:
817:
490:Kokin Wakashu Zenhyoshaku
488:Katagiri, Yoichi (1998).
156:
41:, "six poetry immortals")
37:
503:Frédéric, Louis (2002).
455:Lamarre, Thomas (2000).
267:. When discussing the
203:
192:
167:Kakinomoto no Hitomaro
27:
157:Tsurayuki's Criticism
22:
878:Japanese literature
822:Ariwara no Narihira
811:Six Poetic Geniuses
771:Articles with poems
533:"Rokkasen no jidai"
335:"Rokkasen no jidai"
230:The concept of the
132:Ariwara no Narihira
107:The members of the
76:History of the term
842:Fun'ya no Yasuhide
837:Ōtomo no Kuronushi
505:Japan Encyclopedia
150:Fun'ya no Yasuhide
120:Ōtomo no Kuronushi
28:
855:
854:
777:
776:
441:978-0-8047-1258-3
417:978-0-8047-1258-3
239:Fujiwara no Kintō
171:Yamabe no Akahito
895:
804:
797:
790:
781:
766:Individual poems
601:
594:
587:
578:
571:
570:
559:"Rokkasen jidai"
554:
545:
544:
528:
519:
518:
500:
494:
493:
485:
479:
478:
462:
452:
446:
445:
428:
422:
421:
404:
398:
397:
381:
371:
362:
361:
353:
347:
346:
330:
207:Helen McCullough
115:are as follows:
65:poetry anthology
63:prefaces to the
42:
40:
39:
903:
902:
898:
897:
896:
894:
893:
892:
888:Japanese poetry
858:
857:
856:
851:
813:
808:
778:
773:
761:
735:
684:
610:
608:Japanese poetry
605:
575:
574:
565:(in Japanese).
556:
555:
548:
539:(in Japanese).
530:
529:
522:
515:
502:
501:
497:
487:
486:
482:
475:
454:
453:
449:
442:
430:
429:
425:
418:
406:
405:
401:
394:
373:
372:
365:
355:
354:
350:
341:(in Japanese).
332:
331:
324:
319:
302:
285:Emperor Montoku
228:
159:
105:
78:
49:Ki no Tsurayuki
34:
17:
12:
11:
5:
901:
899:
891:
890:
885:
883:Japanese poets
880:
875:
873:Lists of poets
870:
860:
859:
853:
852:
850:
849:
847:Ono no Komachi
844:
839:
834:
829:
824:
818:
815:
814:
809:
807:
806:
799:
792:
784:
775:
774:
769:
767:
763:
762:
760:
759:
754:
749:
743:
741:
737:
736:
734:
733:
726:
719:
716:Nijūichidaishū
712:
705:
698:
692:
690:
686:
685:
683:
682:
675:
668:
661:
654:
647:
640:
633:
626:
618:
616:
612:
611:
606:
604:
603:
596:
589:
581:
573:
572:
546:
520:
513:
495:
480:
473:
447:
440:
423:
416:
399:
392:
363:
348:
321:
320:
318:
315:
314:
313:
308:
301:
298:
293:Hyakunin isshū
281:Emperor Ninmyō
273:rokkasen jidai
237:In 1009–1011,
227:
224:
218:心) and words (
158:
155:
154:
153:
147:
141:
135:
129:
126:Ono no Komachi
123:
113:Kokin wakashū,
104:
101:
77:
74:
45:Japanese poets
15:
13:
10:
9:
6:
4:
3:
2:
900:
889:
886:
884:
881:
879:
876:
874:
871:
869:
868:Waka (poetry)
866:
865:
863:
848:
845:
843:
840:
838:
835:
833:
830:
828:
825:
823:
820:
819:
816:
812:
805:
800:
798:
793:
791:
786:
785:
782:
772:
768:
764:
758:
755:
753:
750:
748:
745:
744:
742:
738:
732:
731:
727:
725:
724:
720:
718:
717:
713:
711:
710:
706:
704:
703:
699:
697:
694:
693:
691:
687:
681:
680:
676:
674:
673:
669:
667:
666:
662:
660:
659:
655:
653:
652:
648:
646:
645:
641:
639:
638:
634:
632:
631:
627:
625:
624:
620:
619:
617:
613:
609:
602:
597:
595:
590:
588:
583:
582:
579:
568:
564:
560:
553:
551:
547:
542:
538:
534:
527:
525:
521:
516:
510:
506:
499:
496:
491:
484:
481:
476:
474:9780822380467
470:
466:
461:
460:
451:
448:
443:
437:
433:
427:
424:
419:
413:
409:
403:
400:
395:
393:0-8047-1246-8
389:
385:
380:
379:
370:
368:
364:
359:
358:Waka Daijiten
352:
349:
344:
340:
336:
329:
327:
323:
316:
312:
311:Kokin Wakashū
309:
307:
304:
303:
299:
297:
295:
294:
288:
286:
282:
278:
274:
270:
266:
265:Kokin wakashū
262:
261:
256:
251:
246:
244:
240:
235:
233:
225:
223:
221:
217:
212:
208:
202:
197:
196:
191:
186:
185:
181:
178:
176:
172:
168:
164:
163:Kokin wakashū
151:
148:
145:
142:
139:
136:
133:
130:
127:
124:
121:
118:
117:
116:
114:
110:
102:
100:
98:
94:
93:Kokin wakashū
89:
87:
83:
82:Kokin wakashū
75:
73:
71:
70:
69:Kokin wakashū
66:
62:
61:
56:
55:
50:
46:
33:
26:
23:Rokkasen, by
21:
810:
756:
728:
721:
714:
707:
700:
677:
670:
663:
656:
649:
642:
635:
628:
621:
566:
562:
540:
536:
504:
498:
489:
483:
458:
450:
431:
426:
407:
402:
377:
357:
351:
342:
338:
291:
289:
277:Emperor Kōkō
272:
268:
264:
258:
257:anthologies
254:
249:
247:
236:
231:
229:
219:
215:
204:
199:
195:Mana preface
194:
193:
188:
184:Kana preface
183:
182:
179:
174:
162:
160:
112:
108:
106:
96:
92:
90:
85:
81:
79:
67:
58:
52:
31:
29:
832:Kisen Hōshi
615:Major forms
543:(3): 46–54.
211:Han dynasty
138:Kisen Hōshi
862:Categories
827:Sōjō Henjō
514:0674007700
317:References
146:, 17 poems
144:Sōjō Henjō
134:, 30 poems
128:, 18 poems
84:, the six
709:Man'yōshū
260:Man'yōshū
122:, 3 poems
97:Sanryūshō
95:, titled
757:Rokkasen
569:(2): 42.
345:(3): 46.
300:See also
232:rokkasen
175:rokkasen
152:, 1 poem
140:, 1 poem
109:rokkasen
86:rokkasen
43:are six
32:Rokkasen
702:Kaifūsō
103:Members
51:in the
25:Hokusai
723:Kai Ōi
672:senryū
630:kanshi
623:haikai
511:
471:
438:
414:
390:
226:Legacy
220:kotoba
216:kokoro
730:Iroha
679:tanka
665:renku
658:renga
651:hokku
644:haiku
384:313–4
99:三流抄.
637:waka
509:ISBN
469:ISBN
467:–7.
436:ISBN
412:ISBN
388:ISBN
269:waka
263:and
255:waka
250:waka
169:and
60:mana
57:and
54:kana
30:The
465:166
283:or
38:六歌仙
864::
567:35
549:^
541:72
523:^
386:.
366:^
343:72
325:^
296:.
803:e
796:t
789:v
600:e
593:t
586:v
517:.
477:.
444:.
420:.
396:.
214:(
35:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
