205:
appropriate links to those poems that were worthwhile made the honor of having forty-six of his own poems included in the anthology less satisfactory. Individual egos aside, the result was a composition that not only spanned centuries of
Japanese literary tradition and evolving literary styles but also provided a veritable textbook on what well and poorly written poems looked like. The elaborate linking format developed by the editors was also picked up and carried forward with the development of the
578:, with the number varying depending on the edition, as Go-Toba continued to edit the anthology extensively even after his exile to the island of Oki. Each poem is introduced with information regarding the occasion for which it was composed (if that information was available) and in most cases an author is also listed. Major contemporary poetic contributors to the Shin Kokinshū include
201:
similar words and expressions to link each poem to the next. In the section on travel poems, the progression is from ancient poets and styles to modern ones, and as is common in
Japanese waka anthologies, the sections on Love are arranged to show the stages of an affair from first love to bitter parting.
213:
The term "Honkadori" refers to the practice of "allusive variation," and can be literally translated as "taking from an original poem". Even though allusions to older poems were common in the poetic discourse of the day, following the 11th century and prior to
Fujiwara no Teika’s experimentation with
209:
or "linked verse" form, in which poets wrote a series of verses together in turns by continuing the image of the previous verse and introducing something new for the next poet to work with. Renga also made frequent use of the honkadori technique, since each poet had only a short phrase to work with
200:
editors created "an anthology that may be read from beginning to end as a single long structure divided into books". For example, in the sections on the topic of Spring, the editors pieced together a detailed representation in poetic form of the advancement of spring and the passage of time, using
204:
This kind of detailed manipulation resulted in an anthology that did not necessarily contain all of the best works of the day. As
Fujiwara no Teika complained, Go-Toba’s insistence on including the works of old, obscure or even unaccomplished composers in the anthology in order to maintain
331:
Although the poems are written on the same subject, with the newer one drawing directly from the older, Fujiwara no Teika’s interpretation both modernizes the poem and provides it with greater subtlety. It also accomplishes a connection between the
131:
Although Go-Toba retained veto power over the poems included in the anthology as well as the order in which they were presented, he assigned the task of compilation to six of the
Fellows of the Bureau of Poetry. These were
907:
Konishi, Jun'ichi; Trans. Robert H. Brower and Earl Miner, Robert H.; Miner, Earl (1958), "Association and
Progression: Principles of Integration in Anthologies and Sequences of Japanese Court Poetry, A.D. 900-1350",
222:, the poems in the New Collection also make vertical links to the poetic traditions of the past, and by borrowing from specific poems and not simply from stock phrases, the authors and editors of the poems in the
829:
84:
circa 1439. The name can be literally translated as "New
Collection of Ancient and Modern Poems" and bears an intentional resemblance to that of the first anthology. Together with the
119:, including ancient poems that the editors of the first anthology had deliberately excluded. It was officially presented in 1205, on the 300th anniversary of the completion of the
988:
226:
were able to step away from overused and more clearly unoriginal topics that ancient poems had popularized. The following example compares one of Teika’s own poems in the
858:
981:
100:
is widely considered to be one of the three most influential poetic anthologies in
Japanese literary history. It was commissioned in 1201 by the
360:
omits certain books from the original anthology, and includes others on poetic topics that gained prominence only after the publication of the
214:
honkadori, it was frowned upon to make obvious borrowings from past writers. However, that changed significantly with the publication of the
1205:
608:
974:
910:
837:
804:
188:
is famous in part for its organization throughout the anthology, as each poem is generally given as a lead-in to the next, the
356:
in many ways, but it also shows the influence of the intervening imperial anthologies. As can be seen in the table below, the
184:
literary technique, and the effect that each of these elements had on
Japanese poetry after its publication. Even though the
111:, for the purpose of conducting poetry contests and compiling the anthology. Despite its emphasis on contemporary poets, the
1163:
802:
Bialock, David T. (1994), "Voice, Text, and the
Question of Poetic Borrowing in Late Classical Japanese Poetry",
80:
1128:
1220:
1215:
1183:
1156:
1210:
1100:
1079:
161:
1040:
1121:
618:
157:
108:
1149:
107:(r. 1183–1198), who established a new Bureau of Poetry at his Nijō palace with eleven Fellows, headed by
149:
1142:
1114:
1093:
1086:
883:
594:
with 49; Fujiwara no Teika with 46; Fujiwara no Ietaka with 43; Jakuren with 35; and Go-Toba with 33.
1107:
1033:
997:
870:
65:
587:
180:
lies prominently in the technical expertise of the compilers, their novel and extensive use of the
923:
850:
817:
141:
1135:
1026:
579:
86:
1054:
591:
137:
133:
101:
1047:
1019:
1012:
915:
842:
809:
153:
92:
74:
613:
104:
603:
1199:
575:
69:
895:
17:
210:
and the ability to use allusions to prior, complete poems was an important one.
966:
623:
181:
192:
goes above and beyond the standard created by the original collection. The
808:, vol. 54, no. 1, Harvard-Yenching Institute, pp. 181–231,
156:(1170–1221). The anthology was also given a preface in Japanese prose by
927:
854:
821:
145:
919:
846:
813:
206:
830:"'Ex-Emperor Go-Toba's Secret Teachings': Go-Toba no in Gokuden"
583:
160:
and a preface in Chinese—the scholarly language of the Court—by
970:
283:
236:
960:
949:
938:
914:, vol. 21, Harvard-Yenching Institute, pp. 67–127,
841:, vol. 32, Harvard-Yenching Institute, pp. 5–70,
72:
poetry compiled by the Japanese court, beginning with the
574:
The 20 books of the Shin Kokinshū contain nearly 2,000
218:. Instead of mimicking only the horizontal flow of the
196:
editors used linking poems as a general guide, but the
27:
8th anthology of Japanese waka poetry (compiled 1201)
1175:
1071:
1004:
115:covered a broader range of poetic ages than the
685:
683:
681:
43:, "New Collection of Poems Ancient and Modern")
775:
773:
289:
242:
53:
38:
982:
8:
989:
975:
967:
586:with 92; Fujiwara no Yoshitsune with 79;
527:
524:
515:
380:
650:
648:
564:
375:
372:
366:
45:, also known in abbreviated form as the
635:
230:to its honka, or original poem, in the
7:
263:waiting out the autumn’s weary night
609:List of Japanese poetry anthologies
911:Harvard Journal of Asiatic Studies
838:Harvard Journal of Asiatic Studies
805:Harvard Journal of Asiatic Studies
25:
164:, in a manner reminiscent of the
900:Anthology of Japanese Literature
267:she spreads out the moon’s light
60:or even conversationally as the
957:Kodansha Encyclopedia of Japan.
946:Kodansha Encyclopedia of Japan.
935:Kodansha Encyclopedia of Japan.
78:circa 905 and ending with the
1:
316:the Princess of Uji Bridge?
269:the Princess of Uji Bridge.
1206:Japanese poetry anthologies
998:Imperial Poetry Anthologies
902:, New York, NY: Grove Press
882:Cook, Lewis (August 1999),
869:Cook, Lewis (August 1999),
546:
507:
490:
476:
462:
448:
431:
417:
403:
389:
290:
265:deepening as the wind blows
243:
1237:
961:http://www.ency-japan.com/
950:http://www.ency-japan.com/
944:"Fujiwara no Yoshitsune."
939:http://www.ency-japan.com/
828:Brower, Robert H. (1972),
567:
554:
439:
54:
39:
888:Japanese Text Initiative
875:Japanese Text Initiative
176:The significance of the
127:Editors of the anthology
561:from the Bureau of Song
310:spreading out her gown,
1164:Shinshokukokin Wakashū
665:Fujiwara no Yoshitsune
619:13th century in poetry
306:
287:
259:
240:
162:Fujiwara no Chikatsune
158:Fujiwara no Yoshitsune
109:Fujiwara no Yoshitsune
81:Shinshokukokin Wakashū
959:18 December 2007 <
948:18 December 2007 <
937:18 December 2007 <
348:The structure of the
314:will she wait for me—
150:Minamoto no Michitomo
1080:Shinchokusen Wakashū
544:Miscellaneous Forms
1129:Shokugoshūi Wakashū
1122:Shokusenzai Wakashū
788:Cook Editorial Note
588:Fujiwara no Shunzei
352:echoes that of the
1157:Shingoshūi Wakashū
1143:Shinsenzai Wakashū
1094:Shokukokin Wakashū
1087:Shokugosen Wakashū
1062:Shin Kokin Wakashū
278:—Teika SKKS 4:420
250:tsuki wo katashiku
246:matsu yo no aki no
142:Fujiwara no Ietaka
66:imperial anthology
33:Shin Kokin Wakashū
18:Shin-Kokin Wakashū
1193:
1192:
1108:Shingosen Wakashū
1101:Shokushūi Wakashū
955:"Shin Kokinshū."
675:Cook Introduction
592:Princess Shikishi
572:
571:
562:
558:Traditional Poems
329:
328:
297:ware wo matsuramu
282:
281:
138:Fujiwara no Ariie
134:Fujiwara no Teika
16:(Redirected from
1228:
1150:Shinshūi Wakashū
991:
984:
977:
968:
930:
903:
891:
890:, Editorial Note
878:
865:
863:
857:, archived from
834:
824:
789:
786:
780:
777:
768:
765:
759:
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750:
747:
741:
735:
729:
726:
720:
717:
711:
708:
702:
699:
693:
687:
676:
673:
667:
661:
655:
652:
643:
640:
560:
452:Congratulations
446:Congratulations
367:
301:
299:uji no hashihime
293:koromo katashiki
284:
254:
252:uji no hashihime
237:
154:Asukai Masatsune
152:(1171–1237) and
148:(c. 1139–1202),
64:, is the eighth
59:
57:
56:
44:
42:
41:
21:
1236:
1235:
1231:
1230:
1229:
1227:
1226:
1225:
1221:Buddhist poetry
1216:Emperor Go-Toba
1196:
1195:
1194:
1189:
1184:Shin'yō Wakashū
1171:
1115:Gyokuyō Wakashū
1067:
1000:
995:
920:10.2307/2718620
906:
894:
881:
868:
861:
847:10.2307/2718867
832:
827:
814:10.2307/2719391
801:
798:
793:
792:
787:
783:
778:
771:
766:
762:
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709:
705:
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696:
688:
679:
674:
670:
662:
658:
653:
646:
641:
637:
632:
614:Japanese poetry
600:
582:with 94 poems;
568:Buddhist Poems
559:
346:
318:
315:
313:
311:
309:
308:On the cold mat
303:
298:
296:
294:
292:
271:
268:
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264:
262:
256:
251:
249:
247:
245:
174:
129:
102:retired emperor
51:
36:
28:
23:
22:
15:
12:
11:
5:
1234:
1232:
1224:
1223:
1218:
1213:
1211:1200s in Japan
1208:
1198:
1197:
1191:
1190:
1188:
1187:
1179:
1177:
1173:
1172:
1170:
1169:
1167:
1160:
1153:
1146:
1139:
1132:
1125:
1118:
1111:
1104:
1097:
1090:
1083:
1075:
1073:
1069:
1068:
1066:
1065:
1058:
1055:Senzai Wakashū
1051:
1044:
1041:Kin'yō Wakashū
1037:
1034:Goshūi Wakashū
1030:
1023:
1016:
1008:
1006:
1002:
1001:
996:
994:
993:
986:
979:
971:
965:
964:
953:
942:
931:
904:
892:
884:"Shinkokinshū"
879:
877:, Introduction
871:"Shinkokinshū"
866:
825:
797:
794:
791:
790:
781:
769:
760:
751:
742:
730:
721:
712:
703:
694:
677:
668:
656:
644:
634:
633:
631:
628:
627:
626:
621:
616:
611:
606:
604:1205 in poetry
599:
596:
570:
569:
566:
563:
556:
552:
551:
548:
545:
542:
538:
537:
536:Miscellaneous
534:
530:
529:
528:Miscellaneous
526:
523:
520:
517:
513:
512:
509:
506:
503:
500:
496:
495:
492:
489:
486:
482:
481:
478:
475:
472:
468:
467:
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461:
458:
454:
453:
450:
447:
444:
441:
437:
436:
433:
430:
427:
423:
422:
419:
416:
413:
409:
408:
405:
402:
399:
395:
394:
391:
388:
385:
382:
378:
377:
376:Shin Kokinshū
374:
371:
345:
342:
327:
326:
323:
320:
319:
312:this night too
304:
280:
279:
276:
273:
272:
257:
173:
170:
128:
125:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1233:
1222:
1219:
1217:
1214:
1212:
1209:
1207:
1204:
1203:
1201:
1186:
1185:
1181:
1180:
1178:
1174:
1168:
1166:
1165:
1161:
1159:
1158:
1154:
1152:
1151:
1147:
1145:
1144:
1140:
1138:
1137:
1133:
1131:
1130:
1126:
1124:
1123:
1119:
1117:
1116:
1112:
1110:
1109:
1105:
1103:
1102:
1098:
1096:
1095:
1091:
1089:
1088:
1084:
1082:
1081:
1077:
1076:
1074:
1070:
1064:
1063:
1059:
1057:
1056:
1052:
1050:
1049:
1048:Shika Wakashū
1045:
1043:
1042:
1038:
1036:
1035:
1031:
1029:
1028:
1024:
1022:
1021:
1020:Gosen Wakashū
1017:
1015:
1014:
1013:Kokin Wakashū
1010:
1009:
1007:
1003:
999:
992:
987:
985:
980:
978:
973:
972:
969:
962:
958:
954:
951:
947:
943:
940:
936:
933:"Honkadori."
932:
929:
925:
921:
917:
913:
912:
905:
901:
897:
896:Keene, Donald
893:
889:
885:
880:
876:
872:
867:
864:on 2016-03-03
860:
856:
852:
848:
844:
840:
839:
831:
826:
823:
819:
815:
811:
807:
806:
800:
799:
795:
785:
782:
776:
774:
770:
764:
761:
755:
752:
746:
743:
740:
734:
731:
725:
722:
716:
713:
707:
704:
698:
695:
692:
691:Shin Kokinshū
686:
684:
682:
678:
672:
669:
666:
660:
657:
651:
649:
645:
639:
636:
629:
625:
622:
620:
617:
615:
612:
610:
607:
605:
602:
601:
597:
595:
593:
589:
585:
581:
577:
557:
553:
550:Shinto Poems
549:
543:
540:
539:
535:
532:
531:
521:
518:
514:
510:
504:
501:
498:
497:
493:
487:
484:
483:
479:
473:
470:
469:
465:
459:
456:
455:
451:
445:
442:
438:
434:
428:
425:
424:
420:
414:
411:
410:
406:
400:
397:
396:
392:
386:
383:
379:
369:
368:
365:
363:
359:
358:Shin Kokinshū
355:
351:
350:Shin Kokinshū
343:
341:
339:
338:Shin Kokinshū
335:
324:
322:
321:
317:
305:
302:
300:
286:
285:
277:
275:
274:
270:
258:
255:
253:
239:
238:
235:
233:
229:
228:Shin Kokinshū
225:
224:Shin Kokinshū
221:
217:
216:Shin Kokinshū
211:
208:
202:
199:
198:Shin Kokinshū
195:
191:
190:Shin Kokinshū
187:
183:
179:
178:Shin Kokinshū
171:
169:
167:
163:
159:
155:
151:
147:
144:(1158–1237),
143:
140:(1155–1216),
139:
136:(1162–1241),
135:
126:
124:
122:
118:
114:
113:Shin Kokinshū
110:
106:
103:
99:
98:Shin Kokinshū
95:
94:
89:
88:
83:
82:
77:
76:
75:Kokin Wakashū
71:
67:
63:
50:
49:
48:Shin Kokinshū
35:
34:
19:
1182:
1162:
1155:
1148:
1141:
1136:Fūga Wakashū
1134:
1127:
1120:
1113:
1106:
1099:
1092:
1085:
1078:
1061:
1060:
1053:
1046:
1039:
1032:
1027:Shūi Wakashū
1025:
1018:
1011:
956:
945:
934:
909:
899:
887:
874:
859:the original
836:
803:
784:
763:
754:
745:
738:
733:
724:
715:
706:
697:
690:
671:
664:
659:
638:
573:
361:
357:
353:
349:
347:
337:
333:
330:
325:—KKS 14:684
307:
291:Samushiro ni
288:
260:
244:Samushiro ya
241:
231:
227:
223:
219:
215:
212:
203:
197:
193:
189:
185:
177:
175:
172:Significance
165:
130:
120:
116:
112:
97:
91:
85:
79:
73:
61:
47:
46:
32:
31:
29:
1072:Jūsandaishū
1005:Hachidaishū
779:Bialock 205
767:Bialock 208
758:Bialock 198
749:Bialock 182
516:Miscellany
295:koyoi mo ya
248:kaze fukete
1200:Categories
796:References
719:Konishi 91
710:Konishi 74
701:Konishi 68
488:Acrostics
62:Shin Kokin
739:Honkadori
737:Kodansha
728:Brower 21
689:Kodansha
663:Kodansha
642:Keene 192
624:Honkadori
590:with 72;
480:Partings
460:Partings
373:Kokinshū
344:Structure
261:How cold!
182:honkadori
87:Man'yōshū
898:(1955),
654:Brower 8
598:See also
522:Laments
466:Laments
381:Seasons
362:Kokinshū
354:Kokinshū
336:and the
334:Kokinshū
232:Kokinshū
220:Kokinshū
194:Kokinshū
186:Kokinshū
166:Kokinshū
121:Kokinshū
117:Kokinshū
93:Kokinshū
90:and the
1176:Related
928:2718620
855:2718867
822:2719391
494:Travel
474:Travel
440:
435:Winter
429:Winter
421:Autumn
415:Autumn
407:Summer
401:Summer
393:Spring
387:Spring
146:Jakuren
105:Go-Toba
926:
853:
820:
580:Saigyō
525:16-18
370:Topic
96:, the
40:新古今和歌集
924:JSTOR
862:(PDF)
851:JSTOR
833:(PDF)
818:JSTOR
630:Notes
533:17-18
511:Love
508:11-15
505:Love
502:11-15
499:Love
207:renga
963:>
952:>
941:>
584:Jien
576:waka
70:waka
55:新古今集
30:The
916:doi
843:doi
810:doi
565:20
555:20
418:4-5
412:4-5
390:1-2
384:1-2
68:of
1202::
922:,
886:,
873:,
849:,
835:,
816:,
772:^
680:^
647:^
547:19
541:19
519:16
491:10
485:10
364:.
340:.
234:.
168:.
123:.
990:e
983:t
976:v
918::
845::
812::
477:9
471:9
463:8
457:8
449:7
443:7
432:6
426:6
404:3
398:3
58:)
52:(
37:(
20:)
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