Fujiwara no Teika
A portrait of Teika by Kikuchi Yōsai (菊池容斎)
Born	1162 Kyoto, Japan
Died	September 26, 1241 Kyoto, Japan

Fujiwara no Teika (Japanese: 藤原定家), also known as Fujiwara no Sadaie or Sada-ie^[1][2], (1162 – September 26, 1241) was a Japanese waka poet, critic,^[3] calligrapher, novelist, ^[4] anthologist, scribe,^[5]and scholar of the late Heian and early Kamakura periods. Kikuchi Yōsai (菊池容斎 1781-1878 also known as Kikuchi Takeyasu and Kawahara Ryōhei was a Japanese painter most famous for his monochrome (IPA /kʲoːto / is a city in the central part of the island of Honshū, Japan. For a topic outline on this subject see List of basic Japan topics. Events 46 BC - Julius Caesar dedicates a is a language spoken by over 130 million people in Japan and in Japanese emigrant communities Events 46 BC - Julius Caesar dedicates a The are the dominant Ethnic group of Japan. Worldwide approximately 130 million people are of Japanese descent of these approximately 127 million are residents of Japan See Waka and Tanka (disambiguation for other usages Waka (和歌 or Yamato uta is a genre of Japanese poetry A poet is a person who writes Poetry. Etymology From the Ancient greek: ποιέω, poieō: "I make or compose" The word critic comes from the Greek el κριτικός ( el-Latn kritikós) "able to discern" which in turn derives from the word Calligraphy (from Greek kallos "beauty" + graphẽ "writing" is the art of writing (Mediavilla 1996 17 A novel (from Italian novella, Spanish novela, French nouvelle for "new" "news" or "short story ANThology is the first Major label album by Alien Ant Farm released on March 6, 2001 in the USA and March 19 The is the last division of classical Japanese history, running from 794 to 1185. The is a period of Japanese history that marks the governance by the Kamakura Shogunate, officially established in 1192 by the first Kamakura Shogun His influence was enormous, and he is even to this day counted as among the greatest^[6]of Japanese poets, and perhaps the greatest master of the waka form - an ancient poetic form consisting of five lines with a total of 31 syllables. When Japanese poets first encountered Chinese poetry, it was at its peak in the Tang Dynasty. See Waka and Tanka (disambiguation for other usages Waka (和歌 or Yamato uta is a genre of Japanese poetry A syllable ( Greek:) is a unit of organization for a sequence of speech sounds

His critical ideas on composing poetry were extremely influential and studied until as late as the Meiji era. The, or Meiji era, denotes the 45-year reign of the Meiji Emperor, running in the Gregorian calendar, from 23 October 1868 to 30 July A member of a poetic clan, Teika was born to the noted poet Fujiwara no Shunzei. (b 1114 d 22 December 1204 CE) was a noted Japanese poet and Nobleman, son of Fujiwara no Toshitada. After coming to the attention of the Retired Emperor Go-Toba (1180-1239; r. The Insei system (院政 or cloistered rule, was a specific form of government in Japan, in which the Emperor abdicated but kept exerting power and influence ( August 6, 1180 &ndash March 28, 1239) was the 82nd emperor of Japan, according to the traditional order of succession 1183-1198)^[7], Teika began his long and distinguished career, spanning multiple areas of aesthetic endeavor. His relationship with Go-Toba was at first cordial and led to commissions to compile anthologies, but later resulted in his banishment from the retired emperor's court. His descendants and ideas would dominate classical Japanese poetry for centuries afterwards.

Biography

Monument to Fujiwara no Teika, Ogura, Kyoto

Birth

Teika was born to a minor and distant branch of the aristocratic and courtly clan, the Fujiwara, in 1162, sometime after the Fujiwara regents had lost their political pre-eminence in the Imperial court during the Hōgen Rebellion. (IPA /kʲoːto / is a city in the central part of the island of Honshū, Japan. The Fujiwara clan (藤原氏 Fujiwara-shi) descending from the Nakatomi clan, was a powerful family of Regents in Japan that monopolized the regent positions The Hōgen Rebellion (保元の乱 was a Japanese Civil war fought in 1156 over Japanese imperial succession and control of the Fujiwara His branch of the clan sought prestige and power in the court by aligning itself with the Mikohidari family, and by specializing in artistic endeavors, principally poetry. Such specialization was not unusual; branches of extended clans were not in a position to compete directly in politics with the head branch of the clan (or indeed other clans because of their junior status), but could compete in more restricted aesthetic pursuits. (The Mikohidari, also known as the Miko, were a cadet branch of the Fujiwaras, through Fujiwara no Michinaga's sixth son, Fujiwara no Nagaie (1005-1064); the Mikohidari were themselves aligned with the more senior Kujō branch of the original Fujiwara, who opposed the Rokujō family)

Teika's grandfather was the venerable poet Fujiwara no Toshitada. The descendants in the male-line of a younger son of a Monarch or Patriarch collectively constitute a cadet branch of that ancestor's lineage Fujiwara no Michinaga (藤原 道長 966 - 3 January 1028; Japanese calendar 万寿4年12月4日 represents the highpoint of the Fujiwara regents For the horror novel by Stephen King see Cujo. The Kujō family (九条家 Kujō-ke was a Japanese noble family and a branch of the Fujiwara The Rokujō family (六條家 ?) was a poetically conservative faction in the Japanese Imperial court, founded by Fujiwara no Akisue (1055-1123 His father was Fujiwara Shunzei (1114-1204), a well known and greatly respected poet (and judge of poetry competitions), who had compiled the seventh Imperial anthology of waka (the Senzai Wakashū). (b 1114 d 22 December 1204 CE) was a noted Japanese poet and Nobleman, son of Fujiwara no Toshitada. The, often abbreviated as Senzaishū is an Imperial anthology of Japanese waka compiled in 1187 at the behest of the Retired Emperor Go-Shirakawa His sister would also become a well-respected poet of waka and renga, known as Kengozen or Shunzei's Daughter, whom he would occasionally seek out for poetic advice. is a form of Japanese collaborative Poetry. A renga consists of at least two or stanzas often many more Fujiwara Toshinari no Musume (藤原俊成女、but much more commonly called Shunzei's Daughter ；also 藤原俊成卿女、皇(太后宮大夫俊成(卿女 越部禅尼 His elder brother, Fujiwara no Nariee (sometimes romanized as "Nariie"; 藤原俊成), would be somewhat successful in court, but not nearly as much as his sister. ^[8] Teika's foster-brother, the priest Jakuren or "Sadanaga" c. (also known as Fujiwara no Sadanaga (藤原定長 before becoming a monk (1139 &ndash 1202 was a Japanese Buddhist priest and poet. 1139-1202 would be successful as a poet although his career was cut tragically short; he had been adopted by Shunzei when Shunzei's younger brother "retired from the world". ^[9]

Career

Teika's goals as the senior male of his branch were to inherit and cement his father's position in poetry, and to advance his own reputation (thereby also improving the political fortunes of his own clan in the court). While his life would be marked by repeated illness^[10]and wildly shifting fortunes- only partially moderated by his father's long-lasting influence in court (Shunzei would live to the advanced age of 90), the young and poetically inclined Retired Emperor Go-Toba's patronage would prove to lead to some of Teika's greatest successes. The Insei system (院政 or cloistered rule, was a specific form of government in Japan, in which the Emperor abdicated but kept exerting power and influence ( August 6, 1180 &ndash March 28, 1239) was the 82nd emperor of Japan, according to the traditional order of succession ^[11]

Go-Toba's patronage

The Retired Emperor Go-Toba announced, in the second year of his abdication (1200, the second year of the Shōji era) that he would be conducting a poetry contest. was a after Kenkyū and before Kennin. This period spanned the years from 1199 through 1201. ^[12]; Retired Emperors frequently became more influential after their retirement from the office of Emperor rather than as the actual Emperor, since they were from the highly restricting ceremonial requirements and politics of the court. Go-Toba was 20 when he abdicated; he was the consummate amateur, skilled at playing the lute, considered an authority on traditional learning and courtly precedent, excellent at playing Go, and fond of equestrian pursuits such as horseback archery, shooting at running dogs, and swordsmanship. Lute can refer generally to any plucked string instrument with a neck (either Fretted or unfretted and a deep round back or more specifically to an instrument from For the Roman class see Equestrian (Roman Equestrianism refers to the skill of riding or driving Horses This broad description ^[13]

Go-Toba regarded all these pursuits as hobbies, taking one up and dropping another. One of these was his support of poetry, especially the waka. See Waka and Tanka (disambiguation for other usages Waka (和歌 or Yamato uta is a genre of Japanese poetry Immediately after his abdication, he had announced that he would hold two poetry contests, each requiring a number of preeminent poets to compose some 100 waka in a particular thematic progression, known as the hyakushu genre of poem sequences. The first contest (Go-Toba no In shodo hyakushu - "Ex-Emperor Go-Toba's First Hundred-Poem Sequences") was considered a crucial political nexus; if a clan's poet did well and impressed the powerful (and youthful) Go-Toba, the clan would benefit considerably. ^[14]

Another example of Teika's calligraphy; here he has copied a portion of Sugawara no Takasue no musume's Sarashina nikki

Teika's diary records that he looked forward to this chance to improve himself. Sugawara no Takasue no musume (菅原孝標女 1008 - ? was a Japanese author. He was 38, and had reached middle age. While he was recognized as a talented poet, his career was stagnant; he had been in the Palace Guards of the Left for twenty years, and had not been promoted for nearly 10. He was "Lesser Commander of the Palace Guards of the Left" with little prospect of further advancement. ^[15]

He had wider political problems: The influence of his patrons, the Kujōs, over the Emperors had declined drastically. Minamoto no Michichika (d. 1202) had insinuated himself into Imperial circles through Go-Toba's former nursemaid; with this leverage, Michichika's adopted daughter (the then Shogun's daughter, who had decided to marry his daughter off to the Emperor, using Michichika as a go-between - contrary to the Shogun's usual policy if favoring Kujo no Kanezane. The Shogun's lack of confidence allowed Michichika to push Go-Toba into firing Kanezane as kampaku in 1196^[16]) became Go-Toba's concubine (making Michichika the Retired Emperor Go-Toba's father in law), and she bore him his first heir in 1195; the shame of this usurpation led Go-Toba's first wife, Ninshi, to retire from the court. In Japan, Sesshō (摂政 was a title given to a Regent who was named to assist either a child emperor before his Coming of age, or an As Ninshi was the daughter of the Kujō's leader Kujo no Kanezane, the Kujō's influence in court diminished considerably, even to the extent of Kanezane and Yoshitsune (d. also known as, is the founder of the Kujō family (at the encouragement of Minamoto no Yoritomo) although some sources cite Fujiwara no Morosuke (908-960 as its also known as, is the founder of the Kujō family (at the encouragement of Minamoto no Yoritomo) although some sources cite Fujiwara no Morosuke (908-960 as its Yoshitsune_with_benkeijpg|thumb|"Yoshitsune and Benkei Viewing Cherry Blossoms" by Yoshitoshi Tsukioka]] Minamoto no Yoshitsune (ja 源 義経 (1159 &ndash 1206; once the regent and prime minister) ^[17]being driven from the court in 1196;^[18]with the diminution of their influence, so dimmed Teika's prospects. Teika expressed his disappointment through poetry, such as this example, written when he was "passed over for promotion in the spring list" in 1187 (he would eventually be promoted in 1190, but as his good and encouraging friend Saigyo died that year, it was cold comfort):

In fact, Teika was initially not invited, the instigation of the rival Rokujō clan's leader, Suetsune ^[20]and the connivance of Michichika. ^[21] Suetsune and Teika were bitter enemies; just a few months before, Teika had humiliated Suetsune by calling him "that fake poet" and publicly refusing to participate in a poetry competition with Suetsune. ^[22]His revenge was well-done; Teika was furious, writing in his Meigetsuki: :"I never heard of such a thing as choosing only senior poets [writes Teika about the pretext used to exclude him]. I can just see Suetsune at the bottom of this, contriving by some bribe that I be left out. It has to be Suetsune, Tsuneie, that whole family. Well, I have no regrets, for there is no possible hope for me now. But I did write in confidence to Kintsune so this may all come out eventually. He has replied that there is still room for hope. "^[23]

"I gather that it was probably not the Emperor who decided on the rules for the hundred-poem competition. It was due entirely to the machinations of Michichika. One feels like flicking him away in disgust. "^[24]

Teika's appeals to the unrelenting Michichika failed^[25], and so Shunzei stepped in with an eloquent letter (the well-known Waji sojo; "Appeal in Japanese" - writing in Japanese as opposed to the official Chinese was considered a mark of sincerity^[25]) addressed to Go-Toba, arguing that such an exclusion was without precedent, and motivated by base jealousy on their opponent's part:

"Of late the people who call themselves poets have all been mediocrities. The poems they compose are unpleasant to hear, wordy and and lacking in finesse. "^[26]

As Keene writes, "He denounced by name Teika's enemy Suetsune, calling him an ignoramus, and urged Gotoba not to be misled by his machinations. "^[26]Gotoba relented at this appeal from a man he greatly respected (the second time Shunzei had so interceded on Teika's behalf; the first time was in 1185 when Teika had lost his temper and struck a superior - the lesser general Masayuki - with a lamp)^[27][28]. He allowed Teika, along with two other "young" poets, Fujiwara no Ietaka (1159-1237; 1158-1237, according to Brower^[29]), adopted son of Jakuren and pupil to Shunzei^[30], and Takafusa (1148-1209)^[29]to enter the contest. Teika was overjoyed at this turn of events:

"Early this morning came a message from Lord Kintsune that last evening the Ex-Emperor ordered my inclusion among the participants for the hundred-poem sequences. . . . . To have been added to the list for this occasion fills me with inexpressible joy. Though they can hinder me no more, I am still convinced that the trouble was all due to the machinations of those evil men. And that it has turned out this way is a fulfillment of all my hopes and prayers for this life and the next. "^[31]

Teika furiously worked for more than two weeks^[32] to complete the full sequence, and when he finally turned his Shoji hyakushu in a day late, Go-Toba was so eager he read the poems immediately. Go-Toba's personal secretary, Minamoto Ienaga, kept a diary (the Minamoto Ienaga nikki) which eulogistically concerned itself with Go-Toba's poetic activities,^[33]and he records that it was Teika's hundred-poem sequence, and more specifically, poem number 93 which was directly responsible for Teika's being granted the special permission necessary to be admitted to the Retired Emperor's court (distinct from the reigning emperor's court; this special admittance was crucial to any future patronage); this is scarcely surprising as the 100-poem sequences submitted were of uniformly high quality (more poems originating in the sequences Go-Toba commissioned were included in the Shin Kokinshū than from any other source except the enormous "Poetry Contest in 1,500 Rounds"). ^[34]

Interestingly, this poem is both a fine example of the jukkai ("personal grievances"^[36]) genre and as Minamoto no Ienaga first pointed out^[37], also an allusion to the poem (preserved, along with Go-Shirakawa's reply, in the Imperial anthology Senzai Wakashū^[38]) Shunzei had sent Retired Emperor Go-Shirakawa 14 years previously, imploring him to forgive Teika for striking a superior with a candlestick; "the allusion conveys the hope that just as Shunzei's poem obtained his erring son's restoration to rank and office under Go-Shirakawa, now Teika's own poem will win him admission to Go-Toba's Court despite his connection with the "disgraced" Kujō faction. The, often abbreviated as Senzaishū is an Imperial anthology of Japanese waka compiled in 1187 at the behest of the Retired Emperor Go-Shirakawa "^[32]

Teika and Go-Toba would have a close^[39]and productive relationship; Teika would be favored in such ways as being appointed by Go-Toba as one of the six compilers (and de facto head compiler by virtue of his dedication and force of personality in addition to his already established reputation as a poet) of the eighth Imperial Anthology of waka poetry, the esteemed Shin Kokinshū (c. The romanization of Japanese or ( is the use of the Latin alphabet to write the Japanese language. English is a West Germanic language originating in England and is the First language for most people in the United Kingdom, the United States This is a list of significant Japanese poetry anthologies. Waka and Tanka pre- Heian period chronicles 1205, "New Collection of Japanese Poetry, Ancient and Modern") which Go-Toba ordered to be written after the success of the hundred-poem sequences (which furnished a base for the collection). In order to compile it, Go-Toba had resurrected the defunct institution, the Poetry Bureau in the seventh month of 1201, with fifteen yoryudo, or "contributing members", and three added later),^[40]who participated in the many poetry contests and similar activities that soon began taking place in the Bureau; of the Fellows, six (Minamoto Michitomo, Fujiwara Ariie, Teika, Fujiwara Ietaka, Fujiwara Masatsune and Jakuren, who would not live to finish the task, and was not replaced. Minamoto Ienaga was apparently detached from being Go-Toba's personal secretary to instead serve as the secretary for the compilation committee; his and Teika's diaries have survived, affording an unprecedentedly good view of the inner workings of how an imperial anthology was created)^[40] were chosen to compile the Shin Kokinshū in the eleventh month of 1201. ^[41]

As if the honor of helping to compile the Shin Kokinshū and of having a remarkable 46^[42] of his poems (including three from the Shoji hyakushu) included were not enough, Teika would later be appointed in 1232 by the Retired Emperor Go-Horikawa to compile - by himself - the ninth Imperial Anthology, the Shinchokusen Wakashū (c. The Insei system (院政 or cloistered rule, was a specific form of government in Japan, in which the Emperor abdicated but kept exerting power and influence ( March 22, 1212 &ndash August 31, 1234) was the 86th emperor of Japan, according to the traditional order of succession abbreviated as Shinchokusenshū, is an Imperial anthology of Japanese waka, initially compiled in ~1234 CE at the behest of the Retired 1235; "New Imperial Collection"). Teika was the first person to have ever been a compiler of two Imperial anthologies.

A painting of Teika, possibly by his son, Tameie

Teika and Go-Toba quarrel

This favorable patronage and collaboration eventually soured even as Teika's relation with Emperor Juntoku and Minamoto no Sanetomo deepened, over many things such as differences in how one should use "association and progression" (as Brower terms it) in poetic sequences. ( October 22, 1197 &ndash October 7, 1242) was the 84th emperor of Japan, according to the traditional order of succession Minamoto no Sanetomo (源 実朝 September 17, 1192 &ndash February 13, 1219, r In 100-poem sequences and the like, the poems were usually in one of several groups (the four seasons were common ones, as was love); the poems generally formed an integrated sequence in which they dealt with the same subject matter, proceeding from stage to stage (for instance, a sequence on Love might proceed from loneliness, to falling in love, to a mature relationship, and then the sorrow when it ends) or which refer to elements of previous poems (a technique later central to renga sequences). is a form of Japanese collaborative Poetry. A renga consists of at least two or stanzas often many more Go-Toba used such techniques consistently and often, whereas Teika's use was more erratic. During the compilation of the Shin Kokinshū, there were other differences, apparently over how wide-ranging a net to throw for poems:

"In a situation like the present, where he [Go-Toba]has included poems by a great many people one has never heard of, whose names have remained in almost total obscurity for generations, and persons who have only recently begun to attract attention had as many as ten poems apiece included- in such a situation it is no particular distinction for me to have forty-odd [46]poems chosen, or for Ietaka to have a score or more. The Ex-Sovereign's recent decisions make it appear he is choosing men rather than poems- a questionable procedure. "^[43]

Teika's displeasure manifested itself in more petty ways, such as refusing to attend a banquet in 1205 (300 years after the Kokinshū was completed) celebrating the official completion of the Shin Kokinshū because there was no precedent for such a banquet (apparently he was not convinced by the precedent of the banquet celebrating the completion of the Nihon Shoki)^[44]; Go-Toba reciprocated by cutting Teika out of the process of continually revising the Shin Kokinshū^[45] (while it was officially complete by the date of the banquet, it was de facto incomplete as the Japanese Preface only existed in rough drafts^[44]and because Go-Toba would continue revising the selection of poems for some time thereafter, only releasing the final edition approximately 6 years later, sometime after the ninth month of 1210;^[46][47]indeed, Go-Toba would continue revising it until his death, although the later revisions are not extant). The, sometimes translated as The Chronicles of Japan, is the second oldest book of classical Japanese history. ^[48]

In addition, there apparently were serious personality conflicts, which lead Go-Toba to write once, after praising Teika's poetry, that:

"The way Teika behaved, as if he knew all about poetry, was really quite extraordinary. Especially when he was defending his own opinion, he would act like the man who insisted a stag was a horse. He was utterly oblivious of others, and would exceed all reason, refusing to listen to anything other people had to say. "^[49]

(The stag and horse anecdote refers to the ancient Chinese Chao Kao (d. Zhao Gao ( ?? &ndash 207 BC was the chief Eunuch during the Qin Dynasty of China, who played an instrumental role in the downfall of the Qin Dynasty 207 BCE), who revolted after an incident in which he brought a stag to the Imperial court, claimed it was actually a horse, and saw that more of the officials sycophantically agreed with him, rather than the emperor who pointed out that the horse was actually a stag. )

Donald Keene believes that as Teika grew more important, he resented Go-Toba's peremptory use of him. Donald Lawrence Keene (born June 6 1922 in New York City) is a noted Japanologist, scholar teacher writer translator and interpreter of ^{[50][10][51][52]}In his later years, Go-Toba took issue not merely with Teika's personality, but also with his poetry, complaining of Teika's more liberal style that Teika (among other things^[53]) "by contrast, paid no attention whatsoever to the topic. For this reason in recent times even beginners have all come to be like this. It is outrageous. Only when one concentrates very hard upon a compound topic and composes a poem which centers upon the topic is the result of any interest. This modern style is sheer carelessness. It is absolutely essential to practice composing poems on compound topics in the correct way. "^[54][55]

In any event, the precipitating events were two incidents, one in 1207 and the next in 1220. In 1207, Go-Toba decided to organize the creation of 46 landscape screens for the Saishō Shitennō Temple which he had had built in 1205 (interestingly, apparently "in order to enlist divine aid in the overthrow the feudal government")^[56]; each of these screens would also have a waka on the famous landscape depicted, composed by a leading poet, who would compose the requisite 46, with the best poems for each landscape selected. Of course, Teika was asked to contribute, but one (on the "Wood of Ikuta", a famous and picturesque woodland attached to the Ikuta Shrine of Settsu Province, modern-day Kobe; it was famous for being a battlefield between the Minamoto and Taira clans, as well as for its scenic beauty^[57]) was rejected by Go-Toba; not because it was a bad poem, but because it was a "poor model", as Keene puts it. is a Shinto shrine in the Chūō Ward of Kobe, Japan, and is possibly among the oldest shrines in the country was a province of Japan, which today comprises the eastern part of Hyōgo Prefecture and the northern part of Osaka Prefecture. is the capital city of Hyōgo Prefecture and a prominent port city in Japan with a population of about 1 was one of the honorary surnames bestowed by the Emperors of Japan of the Heian Period ( 794 – 1185 AD on those of their sons and grandsons who were not For other uses of the word Taira see Taira (disambiguation The was a major Japanese clan in historical Japan ^[58]Teika, already annoyed by the minimal notice for the contest and the lack of time for composing the poems (he had to turn them in two days after he was first informed of the contest), began complaining about Go-Toba and attacking his poetic judgement, both with regard to the Shin Kokinshū and the poems selected from the screens. ^[59]Nothing came of this incident, but nevertheless, the damage had been done. ^[45]

The second incident took place in the second month of 1220 and is described in a preface to the two poems concerned as recorded in Teika's personal anthology, the Shū gusō; during the 6-year period covering such events as Teika's banishment from Go-Toba's court and Go-Toba's participation in the Jōkyū War of 1221, Teika's diary is silent. also known as the Jōkyū Disturbance, was fought in Japan between the forces of Retired Emperor Go-Toba and those of the Hōjō clan, ^[60] Teika was asked to participate in a poem competition on the 13th of the second month; Teika declined, citing as a reason the anniversary of his mother's death 26 years previous, in 1194. Go-Toba and his officials sent several letters to him, strongly urging him to come, and Teika eventually gave in, arriving with only two waka. The headnote to the two poems reads:

"Having been summoned to the palace for a poetry gathering on the thirteenth day of the second month in the second year of Shokyu [1220], I had begged to be excused because of a ritual defilement, it being the anniversary of my mother's death. I thought no more about it, but quite unexpectedly in the evening of the appointed day, the Archivist Iemitsu come with a letter from the ex-emperor, saying that I was not the hold back on account of the defilement, but was to come in any case. I continued to refuse, but after the ex-emperor had sent two more letters insisting on my presence, I hastily wrote down the following two poems and took them with me. "^[61]

The first waka was critical of Go-Toba but otherwise fairly innocuous, but the second was quite pointed, obliquely attacking Go-Toba both for forcing Teika to attend Go-Toba's contest when Teika was memorializing his mother and also for insufficiently promoting Teika (the final line is a variation on a phrase dealing with "double griefs"):

Go-Toba saw this attack as both ingratitude of the rankest sort and the culmination of a series of affronts, this latest being petty resentment at what Go-Toba would have seen as a flimsy pretext for attempting to get out of the poetry competition. Accordingly, he banished Teika from his court, a banishment that would last for more than a year; this feud distressed devotees of poetry. ^[63]

Teika in the ascendancy

Possibly another a factor in this estrangement was politics - Teika had had the good fortune of being selected in 1209 as a poetry teacher to the new and young shogun, Minamoto no Sanetomo; the Shogunate was a rival and superior authority to that of the Emperors and the Imperial court. is a military rank and historical title in Japan. The Japanese word for "general" it is made up of two Kanji words sho, meaning "commander" Minamoto no Sanetomo (源 実朝 September 17, 1192 &ndash February 13, 1219, r It was probably to the unhappy Sanetomo that Teika addressed the prefatory essay to his didactic collection, Kindai shūka ("Superior Poems of Our Time"), and his treatise on poetry Maigetsusho ("Monthly Notes"). Go-Toba would become an enemy of the then-bedridden Teika. Fortunately for Teika, Go-Toba would be exiled by the Kamakura shogunate in 1221 for the rest of life to the Oki Islands after Go-Toba led a failed rebellion against the Shogunate (the Jōkyū War) which Go-Toba had long hated;^[64]

Teika's political fortunes improved in this period, as it was after Go-Toba's exile that Teika was appointed compiler of the ninth imperial anthology, the Shinchokusen Wakashū ("New Imperial Collection"; completed c. The Kamakura shogunate ( Japanese: 鎌倉幕府 Kamakura bakufu) was a feudal military dictatorship in Japan headed by the Shoguns from are a group of islands in the southwestern part of the Sea of Japan and belong to Japan. also known as the Jōkyū Disturbance, was fought in Japan between the forces of Retired Emperor Go-Toba and those of the Hōjō clan, abbreviated as Shinchokusenshū, is an Imperial anthology of Japanese waka, initially compiled in ~1234 CE at the behest of the Retired 1234). While it was a great honor, it was poorly received except by conservatives. According to Donald Keene, Shunzei's Daughter"declared that if it had not been compiled by Teika she would have refused even to take it into her hands. Donald Lawrence Keene (born June 6 1922 in New York City) is a noted Japanologist, scholar teacher writer translator and interpreter of Fujiwara Toshinari no Musume (藤原俊成女、but much more commonly called Shunzei's Daughter ；also 藤原俊成卿女、皇(太后宮大夫俊成(卿女 越部禅尼 " (From a letter sent to Fujiwara no Tameie, Teika's son) ^[65]. second son of poets Teika and Abutuni, was the central figure in a circle of Japanese poets after Jōkyū War in 1221 She and others also criticized it for apparently deliberately excluding any of the objectively excellent poems produced by the three Retired Emperors exiled in the aftermath of the Jōkyū War ^[65]This absence has been variously attributed to vengefulness on the part of Teika, or simply a desire to not potentially offend the Kamakura shogunate. The Insei system (院政 or cloistered rule, was a specific form of government in Japan, in which the Emperor abdicated but kept exerting power and influence ^[66]

Teika was advanced at the age of 70 to the court rank of "Gon Chūnagon" (Acting Middle Counselor; this was the second highest office in the Supreme Council of State).

But even Teika's improved fortunes could not insulate him entirely from the various famines and disasters that wracked the country in this period, and which greatly exacberated his illnesses:

"Today I had my servants dig up the garden (the north one), and plant wheat there. Even if we only grow a little, it will sustain our hunger in a bad year. Don't make fun of me! What other stratagem does a poor old man have?" (Meigetsuki, 13th day of the 10th month, 1230)^[67]

"Starving people collapse, and their dead bodies fill the streets. Every day the numbers increase. . . . The stench has gradually reached my house. Day and night alike, people go by carrying the dead in their arms, too numerous to count. " (Meigetsuki, 2nd day of the 7th month, 1231) ^[67]

During the later portions of his life, Teika experimented with refining his style of ushin, teaching and writing it; in addition to his critical works and the manuscripts he studied and copied out, he experimented with the then-very young and immature form of renga- "They are an amusement to me in my dotage. is a form of Japanese collaborative Poetry. A renga consists of at least two or stanzas often many more "^[68]He died in 1241, in Kyoto, and was buried at a Buddhist temple named "Shokokuji". (IPA /kʲoːto / is a city in the central part of the island of Honshū, Japan. Buddhism is a family of beliefs and practices

Rival descendants

One of his 27 children by various women^[69](and one of two legitimate sons), Fujiwara no Tameie (1198-1275; he is remembered as a reluctant heir, in youth inclining rather to court football at the encouragement of Go-Toba^[59]than to poetry), would carry on Teika's poetic legacy. second son of poets Teika and Abutuni, was the central figure in a circle of Japanese poets after Jōkyū War in 1221 For Kemari or Kiamari neighborhood of Karachi, Pakistan, see Kiamari. Tameie's descendants would split into three branches: the conservative elder Nijō branch (founded by Tameie's elder son, Tameuji no Teika (1222-1286); the middle branch of the Kyōgoku founded by Fujiwara no Tamenori (1226-1279), which, before it went extinct in 1332 with the death of Fujiwara no Tamekane, merged with the Reizei at the prompting of the nun Abutsu; and the younger, more liberal Reizei branch, founded by Tameie' younger son Fujiwara no Tamesuke (b. 1263) by the Abutsu (d. circa 1283; a poet and a great diarist, especially remembered for her diary Isayoi Nikki ("Diary of the Waning Moon") chronicling her legal battles to get the Kamakura shogunate to stop Tameuji from disinheriting Tamesuke of the Hosokawa estate near the capital that Tameie had left Tamesuke). For other uses of the term 'diary' see Diary (disambiguation. ^[70]

It is a testament to Teika's importance that the poetic history of the next centuries is in large part a story of the battles between the rival branches; indeed, it is this rivalry that is chiefly responsible for the great number of forgeries attributed to Teika. When the Reizei lost a court case concerning possession of the Hosokawa estate Tameie had willed to Tamesuke, they were ordered to hand over the valuable manuscripts and documents inherited from Teika and Tameie over to the Nijō; they outwardly complied, but along with the few genuine documents whose existence the Nijō had already learned of, they mostly included forgeries which the Nijō had little choice but to accept. In retaliation, the Nijō manufactured a number of forgeries of their own, the better to buttress their claims. ^[71][72]

After a period of Reizei ascendancy under Rezei no Tamehide (great-grandson of Teika) (b. 1302?, d. 1372), they suffered a decline and a consequent rise in the fortunes of the Nijō, as Tamehide's son, Iametuni, became a Buddhist monk. Buddhism is a family of beliefs and practices However, the Nijō soon suffered setbacks of their own under the wastrel Nijō no Tameshige (b. 1325, d. 1385), whose promising son, Nijō no Tametō (b. 1341, d. 1381), died comparatively young, killed by a brigand.

In a further disaster for the Nijō, Tametō's son, Nijō no Tamemigi was killed by a brigand as well in 1399 (?), effectively wiping out the Nijō as an organized force. Under the grandson of Tamehide, Tanemasa (b. 1361, d. 1417), the Rezei achieved temporary victory in the time of Shōtetsu. Shōtetsu (正徹 1381-1459 CE) was a major Japanese Poet during the medieval period and is widely considered to have been the last great poet in ^[73]Ironically, the once-liberal Reizei would become associated during and after the Meji Era with the ultra-conservatives of the "Palace School". The, or Meiji era, denotes the 45-year reign of the Meiji Emperor, running in the Gregorian calendar, from 23 October 1868 to 30 July

Teika's grave site.

Poetic achievements

"In this art of poetry, those who speak ill of Teika should be denied the protection of the gods and Buddhas and condemned to the punishments of hell. " -Shōtetsu ^[74]

Teika selected the works for the Ogura Hyakunin Isshu, an anthology of a hundred poems by a hundred poets. Shōtetsu (正徹 1381-1459 CE) was a major Japanese Poet during the medieval period and is widely considered to have been the last great poet in is a traditional style of compiling Japanese waka poetry where each contributor writes one poem for the anthology His Ogura Hyakunin Isshū was later thought to be a book of waka theory in which all types of ideal waka and all techniques were laid out; disputes over specific style and whether to be conservative or liberal that divided his descendants into a number of feuding schools/clans like the Reizei, Kyogoku, and Nijō.

Teika made many ^[75]manuscript copies of Japanese classics, including such landmarks of Japanese literature as The Tale of Genji, The Tales of Ise and the Kokinshū anthology^[76]. is a classic work of Japanese literature attributed to the Japanese noblewoman Murasaki Shikibu in the early eleventh century around the peak of the Heian Period is a Japanese collection of tanka poems accompanied by short prose narratives about the poet Ariwara no Narihira, which provide a context for the poems The, commonly abbreviated as, is an early Heian waka Imperial anthology, conceived by Emperor Uda (r In his days, the ancient Japanese pronunciations were lost or difficult to understand, rendering the orthography of kana confused and uncertain. The orthography of a language specifies the correct way of using a specific Writing system to write the language Kana is a general term for the syllabic Japanese scripts Hiragana (ひらがな and Katakana (カタカナ as well as the old system Teika researched old documents and recovered the earlier system of deciding between interpretations of kana, and developed a systematic orthography which was used until the modern Meiji period. Kana is a general term for the syllabic Japanese scripts Hiragana (ひらがな and Katakana (カタカナ as well as the old system He applied his kana system to his manuscripts, which were known for their accuracy and general high quality and called Teika bon ("Teika text"). Using his method he was able to document the accurate pronunciation of earlier waka like the ones in the Kokin Wakashū. The, commonly abbreviated as, is an early Heian waka Imperial anthology, conceived by Emperor Uda (r His manuscripts were also appreciated for his eponymous distinct and bold style of calligraphy. Calligraphy (from Greek kallos "beauty" + graphẽ "writing" is the art of writing (Mediavilla 1996 17

A manuscript in Teika's hand of "Superior Poems of our Time", showing his calligraphic style.

Teika is also remembered, like his father, as being something of an innovator- the Encyclopedia Britannica says:

"Teika employed traditional language in startling new ways, showing that the prescriptive ideal of "old diction, new treatment" [kotoba furuku, kokoro atarashi] inherited from Shunzei might accommodate innovation and experimentation as well as ensure the preservation of the language and styles of the classical past. The Encyclopædia Britannica is a general English-language encyclopaedia published by Encyclopædia Britannica Inc "

Sōgi and his friends honor Teika's grave with a poetry party. was a Japanese Poet. He came from a humble family from the province of Kii or Ōmi, and died in Hakone on September 1 1502

The "old diction" here are phrases and words from the "Three Collections": the Kokinshū, the Gosen Wakashū, and the Shūi Wakashū, but not much older than that (for instance, the diction of the Man'yōshū was considered too old)^[77]. The, commonly abbreviated as, is an early Heian waka Imperial anthology, conceived by Emperor Uda (r The, often abbreviated as Gosenshū is an Imperial anthology of Japanese waka compiled in 951 at the behest of Emperor Murakami by the often abbreviated as Shūishū, is an Imperial anthology of Japanese waka compiled between 1005 and 1007. is the oldest existing collection of Japanese poetry, compiled sometime in the Nara or early Heian periods The anthology is one of the most revered of Japan's Teika wrote in his Maigetsusho that the best poems were spontaneous and original, but nevertheless traditional:

"But such a notion is quite erroneous. For if we were to call such verses as that superior, then any poem at all we might write could be a fine one. No, first the powers of invention must be freed by reciting endless possibilities over and over to oneself. Then, suddenly and spontaneously, from among all the lines one is composing, may emerge a poem whose treatment of the topic is different from the common run, a verse that is somehow superior to the rest. It is full of poetic feeling, lofty in cadence, skillful, with resonances above and beyond the words themselves. It is dignified in effect, its phrasing original, yet smooth and gentle. It is interesting, suffused with an atmosphere subtle yet clear. It is richly evocative, its emotion not tense and nervous but sensible from the appropriateness of the imagery. Such a poem is not to be composed by conscious effort, but if a man will only persist in unremitting practice, he may produce one spontaneously. "^[78]

The following is an example of how Teika used old and classic imagery such as Takasago and Onoe, as well as pine and cherry trees, in fresh ways:

His poems were described as remarkable for their elegance and exemplars of Teika's ideals, in his early and later years (respectively; Teika considerably modified his personal beliefs during his 40s, after the death of Shunzei, and simplified his style of composition), of the styles of yoen- one of the ten orthodox styles Teika defined and defended in his poetic criticism, with some of the others being the onihishigitei ("demon-quelling force") style, the style of sabi or "loneliness" (closely related to mono no aware), the style of yugen, or "mystery and depth"; the yoen style was concerned with "ethereal beauty", and ushin ("deep feeling" or "conviction of feeling". also translated as "an empathy toward things" or "a sensitivity of ephemera" is a Japanese term used to describe the Awareness of mujo or the The study of Japanese aesthetics involves the standards of what is considered tasteful or beautiful in Japanese culture This shift in style from yoen to ushin was intended to achieve a certain sort of makoto, or integrity^[80]; Teika sometimes referred to his aim as ushin ("deep feeling"), which confusingly was also the name of one of the ten styles. Integrity is Consistency of actions values methods measures and principles The yoen style was one of the most popular in his time due in no small part to Teika's of it (yoen had first been described by Fujiwara no Mototoshi in the 1150s, but had been only marginally successful); years later, the Symbolists would admire and emulate (to a degree) his use of language to evoke atmosphere in his brief poems in the yoen style. Symbolism was a late nineteenth-century Art movement of French and Belgian origin in poetry and other arts An excellent example (and one later chosen for an Imperial anthology) is the first poem below:

Partial bibliography

• Shoji hyakushu (1200; "Hundred-Poem Sequence of the Shoji era")
• Gotoba-in Kumano Gokō Ki (1201; "The Visit of the Cloistered Emperor to Kumano"). A diary Teika wrote about a trip to Kumano he took with Go-Toba and Michichika; like his other diary, it is written in classical Chinese, except for the wakas along the way to the shrines there that Go-Toba was so devoted to that this trip was but one of more than thirty. Teika seems not to have enjoyed the trip; his diary often records concern over his health and matters of decorum such as the proper clothes to wear. ^[82]
• Eiga taigai^[83] or Eika no Taigai (c. 1216,^[83] 1222?; "Essentials of Poetic Composition"). Besides normal advice and criticism of poetry such as pedantic rules on honka-dori - poems used as a base in honka-dori should always be old poems and from either the Kokinshū, Shūi Wakashū, or the Gosen Wakashū with no more than two and a half lines borrowed from the originals; similarly, borrowed elements were to be moved within the new poem and the new poem should have a different theme), Teika also tellingly recommends certain classic works for aspiring poets to study: the Tales of Ise, Sanjurokkasen (or "Poems of the Thirty-Six Immortals") and the first two portions of The Collected Works of Po Chü-i. The, commonly abbreviated as, is an early Heian waka Imperial anthology, conceived by Emperor Uda (r often abbreviated as Shūishū, is an Imperial anthology of Japanese waka compiled between 1005 and 1007. The, often abbreviated as Gosenshū is an Imperial anthology of Japanese waka compiled in 951 at the behest of Emperor Murakami by the is a Japanese collection of tanka poems accompanied by short prose narratives about the poet Ariwara no Narihira, which provide a context for the poems Fujiwara no Kintō (藤原公任 (966-1041 also known as Shijō-dainagon, was a poet admired by his contemporaries and a court bureaucrat of the Heian period. Fujiwara no Kintō (藤原公任 (966-1041 also known as Shijō-dainagon, was a poet admired by his contemporaries and a court bureaucrat of the Heian period. Portions of the Eiga taigai have been translated into English^[84]
• Hyakunin isshu (c. is a traditional style of compiling Japanese waka poetry where each contributor writes one poem for the anthology 1235 "Single Poems by One Hundred Poets"; interestingly, this collection would become the foundation of the modern Japanese New Year game karuta. The Japanese celebrate New Year's Day on January 1 each year Before 1873 the date of the was based on the Chinese lunisolar calendar and celebrated at is a Japanese Card game. The basic idea of any karuta game is to be able to quickly determine which card out of an array of cards is required and then to grab the card before )
• Hyakunin Shūka (1229-1236?; an 101 poem anthology arranged at the request of Utsunomiya Yoritsuna to be copied onto 101 strips of paper and pasted onto the walls of his villa; it has 97 poems in common with Hyakunin isshu, suggesting that perhaps it is a misidentified and variant version of the Isshu. )
• Kindai shūka (c. 1209; "Superior Poems of Our Time"; a collection of poems Teika felt to be excellent models, with a preface dealing with his critical philosophy, sent to Sanetomo to instruct him in how his poems should emulate the great ancient Japanese poets- teaching by example. This sequence was constructed when he was 47, after the death of Shunzei, which depressed Teika, as evidenced by his writing in the Kindai shūka that he had "forgotten the color of the followers of words; the well-springs of inspiration have run dry. ")^[85]
• Maigetsusho (c. 1219; "Monthly Notes"; an epistle of corrections of one hundred poems, sent to a student of Teika's. Besides the corrections, it bore a preface which is a major source of information regarding Teika's view on the aesthetics of poetry; Shōtetsu states that it was sent to Minamoto no Sanetomo; Ton'a holds rather that it had been sent to the "Kinugasa Great Inner Minister", or Fujiwara no Ieyoshi. Shōtetsu (正徹 1381-1459 CE) was a major Japanese Poet during the medieval period and is widely considered to have been the last great poet in )^[84]
• Matsura Monogatari ("The Tale of Matsura"; an experimental novel believed to be written by Teika, though Teika's manuscript claims that he was merely copying it. )
• Meigetsuki ("The Record of the Clear Moon"; sometimes called "Diary of the Clear Moon"^[86]or possibly "Chronicle of the Bright Moon"^[87]; as the second translation suggests, this was a diary Teika kept in classical Chinese between the ages of approximately 18 (in 1180) to just before his death, around 1241; the entries for 1180 and 1181 may have been written when Teika was an old man^[88], but the bulk of the diary covers the 47 years between 1188 and 1235. As its comprehensiveness might suggest, it is an extremely valuable resource for understanding the court and Teika's place in the Imperial court, even despite its incompleteness- available extant versions consist of 56 scrolls (the Reizei family possesses in its family library holographs of 56 and copies of two more), while scholars estimate that the original consisted of over 180 scrolls. A holograph is a document written entirely in the handwriting of the person whose Signature it bears ) Among its many interesting passages (some quoted previously) about Teika's career and life is a famous passage from the ninth month of 1180 about Teika's indifference to political or military advancement, in which he aristocratically remarked that "Reports of disturbances and punitive expeditions fill one's ears, but I pay them no attention. The red banners and the expeditions against the traitors are no concern of mine. " (Here, "red banners" probably refers to the Imperial standard; the last line is possibly a reference to a poem by Po Chu-i in which he tells of how he has been effectively exiled and passes his time playing Go). Life Bai Juyi was born in Xinzheng to a poor but scholarly family
• Nishidaishū (Anthology of 1811 poems from the first 8 Imperial anthologies. )
• Shuka no daitai ("A Basic Canon of Superior Poems")
• Teika Jitte (1207-1213; an anthology of 286 poems, chiefly derived from the Shin Kokinshū; long believed a forgery, but some modern scholars contend that it is a genuine work. )
• Shū gusō (?); Teika's personal anthology of poems. It is of interest as one of the more complete sources of Teika's poems- for instance, the two poems which offended Retired Emperor Go-Toba so much and caused the rift between Teika and him are preserved here only. ^[89]

References

• Mostow, Joshua S. , ed. (1996). Pictures of the Heart: The Hyakunin Isshu in Word and Image. Honolulu: University of Hawaii Press. The University of Hawaii Press is a University press that is part of the University of Hawai{{okina}}i.

See also

• Shikishi

Notes

External links

• Hyakunin isshu-(Public domain translation online)
• Brief biography of Teika and links to ~41 translated poems. The public domain is a range of abstract materials &ndash commonly referred to as Intellectual property &ndash which are not owned or controlled by anyone
• Entry at Encyclopedia Britannica
• Page on the Meigetsuki
  • Picture of a portion of a hand-scroll of the Meigetsuki
• Article on Teika and a supernova he witnessed