1515:), with the poets sitting facing the desk and the master beside it. The role of the scribe was not only to transcribe the renga sequence, but also to act as an enforcer of the rules of the genre. Once a poet was ready to offer a verse, he would make eye contact with and recite it to the scribe, who would then check to make sure that there were no infractions and write it down. The scribe was usually a younger, aspiring renga poet who would be able to gather experience and recognition through the session. The job required a remarkable memory, as he was required to not only remember all of the rules, but also to instantly recall all the previous verses in order to check the newest verse against them without wasting time looking through the transcription. In addition, the scribe needed both poetic and social skills in order to maintain the pace of the session. He had to decide when to enforce the rules and when to let infractions go for artistic or social reasons. Because renga sessions often gathered people from different social statuses, the scribe needed to facilitate the social dynamic and reject or accommodate verses without offending those of higher standing.
741:, which remained part of the title but now only applied to the first verse rather than the whole sequence. Other important rules delineated the maximum numbers of stanzas in which certain topics could appear in a row, and maximum numbers of stanzas in which certain topics could appear across the whole sequence. Many of his aesthetic treatises became important pedagogical artifacts for future renga poets. Through his theoretical work and compilation of the Tsukubashū, Yoshimoto elevated renga to the status of an independent literary genre, setting a crucial foundation for its golden age.
1558:. There was some variation between time periods and treatises regarding the ideal conditions of a renga session, and there were no doubt many amateur sessions across the country that did not adhere to the strict rules. As a whole, however, the renga session and its conventions played a crucial role in renga composition, and many extant renga today are products of those sessions where sequences were carefully recorded and preserved.
875:, the compiler of the Shinkokinshū, making it a formal piece with ceremonial grandeur. "Three Poets at Yuyama," on the other hand, was created in a more relaxed setting and enjoyed greater popularity in its time. It did, however, maintain also many conventions of renga despite its greater flexibility. The two are now considered the most canonical renga sequences and were widely used pedagogically as standards for the genre.
928:, 1511–1552) after Shūkei’s death, taking Satomura as his family name. Jōha was heavily involved with major political figures of his time, establishing connections with important people from various factions. His renga moved toward easy understandability and away from the depth and aesthetic standards of the previous tradition. After his death, renga’s period of widespread popularity ended as it was overtaken by
1439:). The most important rule of linking was that links could only exist between two adjacent verses, i.e. a verse could not be connected with any verses aside from the one it was being linked to. There was a wide range of types of links, from linguistic to semantic and direct to indirect; Nijō Yoshimoto listed thirteen types in his poetic treatise on renga,
1330:) to mean moon specifically (as opposed to "month"). Sometimes the "moon" on the last page would be omitted, leaving seven "moons," making that half of rule more flexible than the number of "blossom" verses, which were considered more important and were usually composed by senior poets or those of higher social status.
909:, 1526–1563) was raised renga poet as well and continued the tradition of travel. He became the top renga master after the death of all of the previous generation. His own death marked the end of the Sōgi tradition of renga, and his contemporary Satomura Jōha rose by default to the top position in the renga world.
836:
Sōgi, a commoner priest, studied literature extensively, learning renga from Sōzei and classical literature from
Kaneyoshi among others. He spent much time travelling the country as a professional renga poet despite the tumultuous political context of his era. His works often feature the relationship
1367:
recurrence), which dictated the maximum and/or minimum number of verses each topic could appear in a row. For instance, spring and autumn verses must repeat for at least three and at most five verses in a row. Love originally followed the same rule, but by Sōgi’s era the minimum had dropped to two,
1550:
to its right. Then he would continue to receive verses; a poet would recite his verse, the scribe would recite it back, and each verse approved by the master and him would be written and recited again. Once the scribe wrote the final verse, he would count the number of verses each participant had
732:
of the
Ashikaga Shogunate. He was originally a waka poet, and his relationship with Gusai, who also had training in courtly literature, brought together common and courtly renga traditions. Yoshimoto was the first to write extensively on renga theory, creating many works laying out the genre’s
1333:
In addition to the "four blossoms eight moons" rule, which served as a major structural pillar for the sequence, there were many other rules regarding topics or lexical categories and their usage in the context of the whole verse. As the vocabulary of renga largely followed the lexicon of
1368:
and a single verse was allowed by the Edo Period. Summer, winter, travel, and
Buddhism, among many others, could repeat for a maximum of three verses and no minimum, as could reminiscence—here, the subtopic of transiency fell under reminiscence, although it did not for other rules.
1534:, and other aspects of the flow by both judging verses and offering his own. He served as the senior poet who contributed many verses and helped other poets refine theirs, exercising a certain amount of authority over their compositions. Professional renga poets (
678:
might be more linguistic, such as requiring odd verses to include three-mora phrases that became a different word upon removal of the middle mora, and even verses to include four-mora phrases that became a different word upon removal of the first and last mora.
903:, ??–1545) was a disciple of Sōchō and Sōseki, and after their deaths rose to the forefront of the renga world. Like his predecessors, he spent much of his time travelling and wrote many works on renga theory in addition to his compositions. His son Sōyō (
388:
gained traction and began to feature more intricate and technically complex links between its two stanzas, the genre gained popularity as a game, and events were held to create the best links. Participants began going beyond the original two stanzas of
1348:) was a category of specific phrases could only be used once in the entire sequence due to their particularly strong impression, or because they were considered unrefined. Some of the most important topics were the four seasons, love, reminiscence (
409:
writing system were linked. Around the same time, a more straightforward style of linking developed, which also helped to spur the lengthening of the form. Eventually, this 100-stanza renga, which alternated 5-7-5 and 7-7 mora verses (known as
785:). However, the anthology was lost and the creation of the next major anthology was completed instead by Sozei’s disciple, Sōgi. Sōzei was one of the "seven sages," a group of poets all active around that time. They consisted of Priest Chiun (
1428:
Because in renga each verse is only related to its immediate neighbors, the sequence as a whole does not have very much semantic, stylistic, or thematic unity. Thus, what held the sequence together was the link between each verse, or
635:)—telling of the genre's wide scale. Renga continued to flourish in the courts as well, and the era saw splendid renga gatherings of even 10,000 verses a day, as well as prominent women poets such as the Buddhist nun Nijō (
492:
during its formative period. However, there are major differences between the two, the
Chinese having a unity of subject and a general lightheartedness of tone, neither of which characteristic is present in Japanese
1304:) contained 8 verses each, and the rest of the sides contained 14 verses each. There were various structural rules based on the paper layout, the most important being the "four blossoms eight moons" rule (
1554:
Many treatises and handbooks delineated the proper etiquette and conventions for renga sessions, covering everything from behavior and preparation of individual poets to the setup and dynamic of the
1371:
There were also many conventions governing the flow of movement throughout the sequence. The term for the proper flow of rhythm, which was also used in other art forms such as Noh theatre, was
590:"renga under flowers"), commoners would gather for renga sessions under the flowering trees in spring, a tradition that is estimated to have been around for about 100 years by the start of the
1151:
s appeal of working as a group to make a complete work was not compatible with the
European style of poetry gaining popularity in Japan, where a single poet writes the entire poem.
1393:, which should move quickly and easily, particularly the final 8 verses for a clean-cut finish. Another convention regarding the flow of the sequence was the alternation of
1199:
would be written by the guest of the session, with the host responding with the second verse. Two technical conventions that carried over to haiku were the seasonal word
744:
The golden age of renga is widely regarded as the
Muromachi Period, during which many of the greatest renga masters were active. The era is epitomized by the poet
1123:
was a popular form of poetry, but its popularity was greatly diminished in the Meiji period. Masaoka Shiki, although himself a participant in several
2255:
must continue on that theme for at least two verses but not more than five verses. This theme may then be dropped with one verse on any other topic.
3178:
1891:
with a 5-7-5 mora (sound unit) count. This stanza should be created by a special guest when present, and is considered a part of the greeting in a
1191:—its geographical location, season, etc.—and was also the only verse expected to be able to stand independently as a poem. The composition of the
1195:
was usually left to a skilled poet, and professional renga poets would sometimes be commissioned to write them during their travels. Often, the
2154:. Refers to the mixing and matching of unlikely word combinations to spur imagination or evoke an image. One of the interesting features of
3515:
1503:. These sessions could take the form of more literary pedagogical events or more informal competitions that drew crowds of spectators.
3343:
3245:
A History of
Japanese Literature, Vol. 1: Seeds in the Heart – Japanese Literature from Earliest Times to the Late Sixteenth Century
1338:, which used a limited number of words, there was a complex but clear system of what words fell under what category. For instance,
569:
renga, which placed more emphasis on the skill of poets, and stanzas by many major renga participants of the Go-Tōba court such as
3544:
3257:
2251:: Literally, "the number of verses". When the theme of a section is a popular topic such as "Love", "Spring", or "Fall", the
1499:), and was an integral part of the poetic sequence, providing aesthetic inspiration and often serving as the basis for the
1243:), the names for the second and third verses respectively. Including these two, the rest of the linked verses were called
3440:
358:
3088:
3067:
2905:
2881:
2830:
2800:
2775:
2697:
728:
renga poet and key collaborator in the compilation of the
Tsukubashū. Yoshimoto was an aristocrat who served in the
219:
poets, out of reverence for this exchange, would refer to their art as "the Way of
Tsukuba", and the first imperial
152:
master. Renga sequences were typically composed live during gatherings of poets, transcribed oral sessions known as
773:, also Kanera; 1402–1481) aimed to succeed his grandfather Nijō Yoshimoto with his compilation of the Aratamashū (
2812:
Keene, Donald, Japanese
Literature: an Introduction for Western Readers, (New York: Grove Press, 1955) p. 33–34.
1518:
Unlike the scribe, the master was mainly in charge of the aesthetic progression of the sequence, maintaining the
1357:; included topics like grief and nostalgia), travel, and Buddhism. Topics like these had to follow the rules of
3549:
3496:
3283:
3050:
1551:
contributed and write the tallies at the end of the last page. Finally, he bound the four pages with a string.
670:), titular prompts that had to be followed by every stanza in the entire sequence. For instance, a white-black
56:(sound units, not to be confused with syllables) per line are linked in succession by multiple poets. Known as
3190:
950:
had become so complicated and systematic that they stifled the active imagination that had been a part of the
715:
renga that embodied the spirit of the renga session became the foundation for the genre as it is known today.
371:, also Minamoto no Shunrai; ~1055–1129), who was the first to write about renga theory in his poetic treatise
3539:
3336:
1582:. Since then, many English-language haiku journals have published renga, renku, and other linked poetry.
882:
developed. Sōgi’s lineage of disciples continued the renga tradition that ended with the death of Jōha (
2211:: A set of rules to lay out the stylistic requirements for change throughout the poem and to prevent a
1389:
encompassed the 11th to 78th verses, which should be dynamic and exciting. The last 22 verses were the
943:
2863:
dited by George Elison and Bardwell L. Smith. Honolulu: University Press of Hawaii, 1987. pp. 113-133.
724:, also Kyūsei or Kyūzei; 1281–1376), who was taught by Zen’a. Gusai, a commoner priest, was a leading
3559:
3249:
2757:, edited by John Hall and Takeshi Toyoda. Los Angeles: University of California Press, 1977. p. 244.
878:
Sōgi’s death in 1502 was followed by a peak in popularity and then decline of renga as the new genre
691:, renga began to take form and establish itself as a literary genre, largely owing to the efforts of
609:
3329:
1956:
with a 7-7 mora count. The person who helped to organize the gathering is honored with creating it.
986:
674:
would call for each verse to alternate between including a white object and a black object. Others
626:
renga but also deviated from them, creating new versions of forms such as 1-day 1000-stanza renga (
1421:
verses were relatively plainer and inconspicuous verses serving to bring out the vividness of the
841:, and he also composed many other major works, the two most famous being "Three Poets at Minase" (
3491:
1543:) such as Sōgi and his disciples would often be in high demand as masters during their travels.
3554:
2585:(行様): The flow of the sequence created by the patterns of links and the shifting of the verses.
348:
27:
912:
Jōha came from another branch of the Sōgi lineage; he studied under Sōseki’s disciple Shūkei (
3367:
1425:. A good flow required skilled but subtle control of the pattern of the two types of verses.
3159:
Yachimoto, Eiko (2008). "October Rain, the first English-language Rokku Renku, a Tomegaki".
688:
591:
505:
253:
2893:
2595:
2327:: A stanza prepared beforehand. Should be avoided as stanzas should be created on the spot.
1546:
At the start of the session, the scribe would receive the hokku and write it alongside the
936:(1644–1694) became the most prominent haikai poet and was later also famous for his haiku.
919:
8:
3460:
2571:: Using letters (i.e. the post), telegraph, telephone, or even fax machines for making a
362:
2285:: The name for a loop where the same theme, image, or word is repeated. Term taken from
891:
One of Sōgi’s final disciples and also a previous disciple of Sōchō, the priest Sōseki (
764:
3243:
3116:
871:, 1448–1532), in 1488 and 1491 respectively. The former was created as an offering for
859:). Both sequences were composed by Sōgi and two of his disciples, the priests Shōhaku (
53:
827:, 1418–1485). Their work was later anthologized by Sōgi in his anthology Chikurinshō (
3453:
3289:
3279:
3253:
3214:""A Record of Life and a Poem of Sentiments": Japanese Immigrant "Senryu," 1929-1945"
3084:
3063:
3046:
2901:
2877:
2826:
2796:
2771:
2693:
570:
522:
renga developed enough to gain its first real independence from waka. In the courts,
233:
2918:
1923:, "cutting word"—a break in the text, usually, but not always, at the end of a line)
837:
between humans and nature. His anthology Shintsukubashū became the successor to the
692:
107:
2600:
1457:
Renga was typically composed in sessions attended by a group of poets known as the
897:, 1474–1533), continued the Sōgi line of disciples after the poet’s death. Sōhoku (
3276:
Japanese Linked Poetry: An Account with Translations of Renga and Haikai Sequences
1385:
contained the first ten verses, which should be graceful, smooth, and subtle. The
453:
77:, the form of poetry is said to have originated in a two-verse poetry exchange by
3374:
3352:
3021:
Horton, H. Mack. "Renga Unbound: Performative Aspects of Japanese Linked Verse."
2970:
Horton, H. Mack. "Renga Unbound: Performative Aspects of Japanese Linked Verse."
2842:
Carter, Steven D. "Three Poets at Yuyama. Sōgi and Yuyama Sangin Hyakuin, 1491."
1417:
verses contained more striking imagery that drew the audience’s attention, while
1048:
872:
711:) in 1356. As reflected in the collection, aesthetic and linguistically polished
648:
557:), and while submissions from both sides were accepted as appropriate links, the
515:
323:
3311:
1010:
933:
139:
74:
3534:
729:
562:
48:) is a genre of Japanese collaborative poetry in which alternating stanzas, or
20:
2643:
2475:. Has the authority to dismiss an improper verse. The most experienced of the
660:) of renga began to develop. At the time, one of the most important rules was
3528:
3381:
2620:, as well as a standalone 17-mora poem, which developed into the independent
1981:
form of a verb to allow the next poet greater freedom in creating the stanza.
1099:
468:, and use of any other words was considered to be unbecoming of true poetry.
463:
336:
188:
78:
70:
981:
were greatly simplified. The 36-verse Kasen became the most popular form of
838:
702:
574:
565:(1221), it served as an important foundation for the further development of
225:
118:
3446:
3293:
3239:
3008:, vol. 2, no. 1, The Society for Japanese Studies, 1975, pp. 53–59. JSTOR,
2991:, vol. 2, no. 1, The Society for Japanese Studies, 1975, pp. 29–61. JSTOR,
1095:
580:
After the Jōkyū Disturbance, renga moved out of the courts. In the popular
403:
renga, in which 47 stanzas beginning with each of the 47 characters of the
1320:), or blossoms, and each side should include one verse that used the word
1276:
During a renga session, the verses were transcribed onto a paper known as
3140:
Darlington, Norman (2005). "Triparshva, A trilateral pattern for renku".
594:. Some of the later resulting works were anthologized in the Tsukubashū.
485:
322:
form was popular from the beginning of the Heian Period until the end of
3307:
3213:
3025:, vol. 53, no. 2, Harvard-Yenching Institute, 1993, pp. 506–512. JSTOR,
2974:, vol. 53, no. 2, Harvard-Yenching Institute, 1993, pp. 443–512. JSTOR,
754:, 1421–1502) and his compilation of the renga anthology Shintsukubashū (
3315:
3062:
Miner, Earl. Japanese Linked Poetry, Princeton University Press, 1979,
1027:
970:
162:), but could also be composed by single poets as mainly textual works.
2270:: A rule to prevent loops repeating the same image or a similar verse.
1286:), using four sheets, or eight sides of paper, total. The first side (
3467:
3416:
2625:
532:) sessions were held in which poets and non-poets were divided into
211:
3501:
2861:
Warlords, Artists and Commoners : Japan in the Sixteenth Century. E
2286:
405:
3321:
3101:
Drake, Chris. "Bashō's "Cricket Sequence" as English Literature".
1051:) twice, and three times to the moon. These references are termed
888:, 1524–1602), who is considered to be the final major renga poet.
2859:
Keene, Donald. "Joha, a Sixteenth-Century Poet of Linked Verse."
1381:), or "prelude, development, presto" in the manner of music. The
428:
respectively), became the basis for what we know as renga today.
202:
193:
1471:)—usually 7-8, though the number could range widely—, a scribe (
1154:
961:
was a part of the cultural knowledge required for high society.
745:
471:
A comparable, though less evolved, tradition of 'linked verse' (
129:
2655:
1912:
1579:
1112:
1015:
1005:
929:
361:
to include an explicit section on renga thanks to its compiler
198:
182:
83:
2846:, vol. 33, no. 3, Sophia University, 1978, pp. 241–83. JSTOR,
2731:
1187:
in a renga session was expected to reflect the reality of the
701:, 1320–1388), who compiled the first imperial renga anthology
281:) in an exchange of poems. This two-stanza form is now called
116:, 1320–1388), who compiled the first imperial renga anthology
3474:
3423:
3409:
3395:
3388:
2631:
2621:
2616:
2606:
2219:
1934:
1874:
1607:
1179:
1091:
1086:
999:
481:
399:
94:
2342:: To make two stanzas in a row. Happens frequently when the
1574:
and the same magazine published an issue in 1976 devoted to
548:
side would offer comical or aesthetically "wilder" stanzas (
339:, which it closely resembled at a glance. It was during the
2768:
Beyond Chrysanthemums: Perspectives on Poetry East and West
2361:: A rule to use the stanza of the first poet to create one.
1897:
1310:). Each sheet should include one verse that used the word
993:
were able to express broader humor and wit. This style of
973:, as more and more ordinary citizens became familiar with
488:
China, and this Chinese form may have influenced Japanese
2431:: Literally, "one seating". Describes the group when the
2376:: A rule whereby each poet takes a turn to make a stanza.
19:"Senku" redirects here. For the Dr. Stone character, see
3298:
A discussion of the features, history and aesthetics of
1590:
Here follows a list of the most common formats in which
435:
renga was largely limited to the standard poetic diction
335:) and would sometimes appear in imperial anthologies of
1177:), a 5-7-5 mora verse which was the origin of the late
2721:
2719:
942:
was a popular form of poetry even in the confusion of
343:
period that the form began take shape and evolve into
2639:, which reached its artistic peak in the 17th century
544:
side would offer orthodox elegant stanzas while the
497:; furthermore, the history of Japanese poetry shows
2716:
2471:, he or she is responsible for the completion of a
2346:
rule is used. Should be avoided to let others join.
1929:was created in. Hokku, removed from the context of
2575:. Using the internet is also considered a form of
2548:, as it were, who is responsible for writing down
205:, to which the old man responds by way of another
179:is traditionally associated with a passage in the
1094:. The stand-alone hokku was renamed haiku in the
989:were allowed. With this relaxation of the rules,
985:, and commonly spoken words as well as slang and
561:were favored. While this practice ended with the
197:poem, how many nights he had slept since passing
3526:
737:, and more. One major change he made was to the
3278:. Princeton, N.J.: Princeton University Press.
2942:
1140:
957:s appeal. During the medieval and Edo periods,
444:
191:speaks to an old man and inquires, by way of a
170:
3004:Jin’Ichi, Konishi, et al. "The Art of Renga."
2987:Jin’Ichi, Konishi, et al. "The Art of Renga."
2936:
2564:
2537:
2518:
2495:
2460:
2447:
2424:
2409:
2384:
2369:
2354:
2335:
2320:
2297:
2278:
2263:
2244:
2225:
2204:
2185:
2166:
2147:
2134:
2121:
2109:of a famous poet such as Bashō and make a new
2098:
2083:
2066:
2043:
2020:
1989:
1977:with a 5-7-5 mora count. It must end with the
1966:
1945:
1918:
1903:
1880:
1535:
1507:
1494:
1481:
1472:
1462:
1444:
1434:
1408:
1398:
1376:
1362:
1349:
1343:
1325:
1315:
1305:
1296:
1287:
1281:
1268:
1258:
1248:
1238:
1228:
1214:
1204:
1172:
1134:
1070:
1057:
1043:, a chain consisting of 36 verses. As a rule,
1036:
923:
913:
904:
898:
892:
883:
866:
860:
851:
842:
828:
822:
816:
810:
804:
798:
792:
786:
780:
774:
768:
755:
749:
719:
706:
696:
665:
652:
636:
627:
617:
599:
585:
549:
527:
509:
475:
438:
423:
414:
376:
366:
352:
327:
306:
296:
286:
273:
267:
257:
247:
237:
180:
157:
148:, 1644–1694) after him became the most famous
143:
133:
123:
111:
98:
88:
61:
39:
3337:
1925:. The kigo usually references the season the
1489:). The setting of the session was called the
779:), which he worked on with the priest Sōzei (
622:, ??–1312), who built upon the rules of
1253:), and verses 4-99 together were called the
128:) in 1356. The most famous renga master was
106:The genre was elevated to a literary art by
573:(1162–1241) were later anthologized in the
3344:
3330:
3139:
833:), for which Kaneyoshi wrote the preface.
458:At this time, poets considered the use of
315:) to which the general term renga refers.
3314:and others, and one haikai sequence with
3158:
3045:2nd edition. Simon & Schuster, 1986.
3037:
3035:
918:, 1470–1544), and then Shūkei’s disciple
232:The earliest extant renga appears in the
3485:Individuals and groups of Japanese poets
3310:and others, three haikai sequences with
1183:genre. Unlike the following verses, the
272:last stanza) written by a Buddhist nun (
3527:
3032:
2552:verses and for the proceedings of the
2031:. Care should be taken to wrap up the
1996:: Refers to all verses other than the
1506:The scribe sat at a low writing desk (
1098:by the great Japanese poet and critic
616:renga poets were led by Priest Zen’a (
3325:
3273:
3238:
3211:
3205:
2966:
2964:
2737:
2725:
604:"underground renga") was born out of
462:as the essence of creating a perfect
3248:(paperback ed.). New York, NY:
2876:. Princeton University Press, 1980.
1452:
797:, ??–1455), High Priest Gyōjo (
608:renga and was pervasive through the
501:as an apparently natural evolution.
3441:List of Japanese poetry anthologies
3351:
1003:("comical linked verse") or simply
718:Yoshimoto was a disciple of Gusai (
209:poem, which combined form a single
81:and later gave birth to the genres
13:
3267:
3083:, Harvard University Press, 1987,
3023:Harvard Journal of Asiatic Studies
2972:Harvard Journal of Asiatic Studies
2961:
2825:, Harvard University Press, 1987,
2692:, University of California, 1983,
2529:gathering, who provides the place.
1263:). The final verse was called the
1106:as an abbreviation of the phrase "
946:. Yet by the end of this era, the
815:; 1406–1475), High Priest Senjun (
540:respectively to link stanzas. The
14:
3571:
3100:
2770:, Oxford University Press, 1993,
2703:
2506:and responsible for creating the
2312:have an identical image or theme.
809:, 1397–1471), Clergyman Shinkei (
451:that had been established in the
397:form more formal than games like
2713:. Tōkyō: Shōgakkan, 2001. Print.
1561:
1155:Structure of and conventions of
1090:, is the forebear of the modern
733:structure, aesthetic standards,
682:
3171:
3152:
3133:
3109:
3094:
3073:
3056:
3015:
2998:
2981:
2911:
2887:
2866:
2853:
2836:
1570:in English appeared in 1968 in
1167:renga sequence begins with the
1047:must refer to flowers (usually
850:) and "Three Poets at Yuyama" (
393:, leading to the creation of a
3497:Thirty-Six Immortals of Poetry
3492:Japanese poets (category list)
3232:
2815:
2806:
2781:
2760:
2743:
2682:
2113:verse to follow on from there.
2077:gathering. May also be called
1867:
229:, alludes to it in the title.
1:
3545:Japanese literary terminology
2670:
1895:gathering. It must include a
3434:Poetry works and collections
3103:Journal of Renga & Renku
2751:The Comic Tradition in Renga
2675:
2635:, the popular derivative of
2399:gathering. The members of a
1742:Han-kasen (i.e. half-kasen)
964:
821:1411–1476), and Priest Sōi (
791:, 1448–1471), Priest Sōzei (
262:, 718-785) and its 7-7 mora
171:Classical and early medieval
7:
3006:Journal of Japanese Studies
2989:Journal of Japanese Studies
2943:
2589:
2304:: A type of loop where the
1141:
612:(1274–1281) and after. The
514:, 1205) during the rule of
445:
291:) to differentiate it from
181:
10:
3576:
2755:Japan in the Muromachi Age
2403:gathering are also called
1585:
803:, 1405–1469), Priest Nōa (
165:
25:
18:
3510:
3484:
3433:
3359:
3250:Columbia University Press
2937:
2647:, an influential text on
2565:
2544:: The "secretary" of the
2538:
2519:
2496:
2461:
2448:
2425:
2410:
2385:
2370:
2355:
2336:
2321:
2298:
2279:
2264:
2245:
2226:
2205:
2186:
2167:
2148:
2135:
2122:
2099:
2084:
2067:
2044:
2021:
1990:
1967:
1952:: The second stanza of a
1946:
1919:
1904:
1881:
1536:
1508:
1495:
1482:
1473:
1463:
1445:
1435:
1409:
1399:
1377:
1363:
1350:
1344:
1326:
1316:
1306:
1297:
1288:
1282:
1269:
1259:
1249:
1239:
1229:
1215:
1205:
1173:
1135:
1075:, "the seat of the moon")
1071:
1058:
1037:
1022:The most favored form of
1013:is known as the greatest
924:
914:
905:
899:
893:
884:
867:
861:
852:
843:
829:
823:
817:
811:
805:
799:
793:
787:
781:
775:
769:
760:, lit. "New Tsukubashū).
756:
750:
720:
707:
697:
666:
653:
637:
628:
618:
610:Mongol invasions of Japan
600:
586:
550:
528:
510:
480:—the same characters as '
476:
439:
424:
415:
377:
367:
353:
328:
307:
297:
287:
274:
268:
258:
252:first stanza) written by
248:
238:
158:
144:
134:
124:
112:
99:
89:
62:
40:
2919:
2789:One Hundred Frogs, from
2659:, modern development of
2502:: The main guest of the
2467:. The coordinator of an
2050:: A note made after the
1973:: The third stanza of a
1933:, eventually became the
1594:have been written, both
1080:The first stanza of the
1062:, "the seat of flowers")
865:, 1143–1527) and Sōchō (
16:Genre of Japanese poetry
3081:The Road to Komatsubara
2823:The Road to Komatsubara
2610:, the opening verse of
2192:: The verse before the
2027:: The last stanza of a
1209:) and a "cutting word"
504:Around the time of the
359:imperial waka anthology
242:), with its 5-7-5 mora
3212:Kumei, Teruko (2006).
3029:, doi:10.2307/2719455.
2978:, doi:10.2307/2719455.
2874:Japanese Linked Poetry
2850:, doi:10.2307/2383991.
1887:: The first stanza of
1413:"background") verses.
1119:For almost 700 years,
944:Azuchi–Momoyama period
633:ichi nichi senku renga
28:Renga (disambiguation)
3550:Japanese poetic forms
3041:Van den Heuvel, Cor.
3012:, doi:10.2307/132038.
2995:, doi:10.2307/132038.
2690:Three Poets at Yuyama
2454:: May also be called
2173:: The verse in which
2128:: May also be called
2054:to indicate how many
1110:" meaning a verse of
857:Yuyama Sangin Hyakuin
848:Minase Sangin Hyakuin
363:Minamoto no Toshiyori
52:句), of 5-7-5 and 7-7
3540:Collaborative poetry
3274:Miner, Earl (1979).
3043:The Haiku Anthology,
2894:Higginson, William J
2795:, Weatherhill 1983,
2596:Collaborative poetry
2105:: To start with the
1566:An early attempt at
1223:was followed by the
26:For other uses, see
3516:Articles with poems
3193:on 18 February 2013
2844:Monumenta Nipponica
2793:to haiku to English
2711:Rengashū, Haikaishū
2435:are seated and the
2391:: The members of a
2215:from falling apart.
1131:is) not literature"
932:, its child genre.
69:) after the famous
3079:Carter, Steven D.
2900:, Kodansha, 1996,
2821:Carter, Steven D.
2766:Reckert, Stephen,
2688:Carter, Steven D.
2525:: The patron of a
1908:, "seasonal word")
1834:Norman Darlington
997:came to be called
689:Nanboku-cho Period
647:It was during the
592:Nanboku-chō Period
524:ushin mushin renga
506:Shin Kokin Wakashū
431:The vocabulary of
254:Ōtomo no Yakamochi
138:, 1421–1502), and
67:The Way of Tsukuba
3522:
3521:
3259:978-0-231-11441-7
2898:The Haiku Seasons
2740:, p. 959, note 4.
2709:Kaneko, Kinjirō.
2236:in Bashō's style.
1865:
1864:
1629:(writing sheets)
1480:), and a master (
1453:The renga session
1295:) and last side (
1127:, claimed that "(
1102:. Shiki proposed
571:Fujiwara no Teika
563:Jōkyū Disturbance
215:. Later medieval
187:, wherein Prince
3567:
3560:Genres of poetry
3511:Individual poems
3346:
3339:
3332:
3323:
3322:
3297:
3263:
3226:
3225:
3209:
3203:
3202:
3200:
3198:
3189:. Archived from
3175:
3169:
3168:
3156:
3150:
3149:
3137:
3131:
3130:
3128:
3127:
3113:
3107:
3106:
3098:
3092:
3077:
3071:
3060:
3054:
3039:
3030:
3019:
3013:
3002:
2996:
2985:
2979:
2968:
2959:
2958:
2956:
2954:
2948:
2946:
2940:
2939:
2933:Japan Dictionary
2915:
2909:
2891:
2885:
2870:
2864:
2857:
2851:
2840:
2834:
2819:
2813:
2810:
2804:
2785:
2779:
2764:
2758:
2747:
2741:
2735:
2729:
2723:
2714:
2707:
2701:
2686:
2601:Exquisite corpse
2570:
2568:
2567:
2543:
2541:
2540:
2524:
2522:
2521:
2501:
2499:
2498:
2466:
2464:
2463:
2453:
2451:
2450:
2430:
2428:
2427:
2415:
2413:
2412:
2390:
2388:
2387:
2375:
2373:
2372:
2360:
2358:
2357:
2341:
2339:
2338:
2326:
2324:
2323:
2303:
2301:
2300:
2284:
2282:
2281:
2269:
2267:
2266:
2250:
2248:
2247:
2231:
2229:
2228:
2210:
2208:
2207:
2191:
2189:
2188:
2172:
2170:
2169:
2153:
2151:
2150:
2140:
2138:
2137:
2127:
2125:
2124:
2104:
2102:
2101:
2089:
2087:
2086:
2072:
2070:
2069:
2049:
2047:
2046:
2026:
2024:
2023:
1995:
1993:
1992:
1972:
1970:
1969:
1951:
1949:
1948:
1924:
1922:
1921:
1909:
1907:
1906:
1886:
1884:
1883:
1794:Shunjin Okamoto
1613:
1612:
1539:
1538:
1511:
1510:
1498:
1497:
1485:
1484:
1476:
1475:
1466:
1465:
1448:
1447:
1438:
1437:
1412:
1411:
1402:
1401:
1380:
1379:
1366:
1365:
1353:
1352:
1347:
1346:
1329:
1328:
1319:
1318:
1309:
1308:
1300:
1299:
1291:
1290:
1285:
1284:
1272:
1271:
1262:
1261:
1252:
1251:
1242:
1241:
1232:
1231:
1218:
1217:
1208:
1207:
1176:
1175:
1146:
1144:
1142:Bungaku ni arazu
1138:
1137:
1076:
1074:
1073:
1063:
1061:
1060:
1042:
1040:
1039:
956:
927:
926:
917:
916:
908:
907:
902:
901:
896:
895:
887:
886:
870:
869:
864:
863:
855:
854:
846:
845:
832:
831:
826:
825:
820:
819:
814:
813:
808:
807:
802:
801:
796:
795:
790:
789:
784:
783:
778:
777:
772:
771:
765:Ichijō Kaneyoshi
759:
758:
753:
752:
723:
722:
710:
709:
700:
699:
669:
668:
656:
655:
651:that the rules (
640:
639:
631:
630:
621:
620:
603:
602:
589:
588:
553:
552:
531:
530:
513:
512:
479:
478:
450:
448:
442:
441:
427:
426:
418:
417:
380:
379:
370:
369:
357:) was the first
356:
355:
331:
330:
310:
309:
300:
299:
290:
289:
277:
276:
271:
270:
261:
260:
251:
250:
241:
240:
186:
175:The "origin" of
161:
160:
147:
146:
137:
136:
127:
126:
115:
114:
102:
101:
92:
91:
71:Tsukuba Mountain
65:
64:
58:tsukuba no michi
43:
42:
3575:
3574:
3570:
3569:
3568:
3566:
3565:
3564:
3525:
3524:
3523:
3518:
3506:
3480:
3429:
3355:
3353:Japanese poetry
3350:
3306:sequences with
3286:
3270:
3268:Further reading
3260:
3235:
3230:
3229:
3210:
3206:
3196:
3194:
3177:
3176:
3172:
3157:
3153:
3138:
3134:
3125:
3123:
3117:"Shorter Renku"
3115:
3114:
3110:
3099:
3095:
3078:
3074:
3061:
3057:
3040:
3033:
3020:
3016:
3003:
2999:
2986:
2982:
2969:
2962:
2952:
2950:
2934:
2929:
2917:
2916:
2912:
2892:
2888:
2871:
2867:
2858:
2854:
2841:
2837:
2820:
2816:
2811:
2807:
2787:Sato, Hiroaki.
2786:
2782:
2765:
2761:
2749:Keene, Donald,
2748:
2744:
2736:
2732:
2724:
2717:
2708:
2704:
2687:
2683:
2678:
2673:
2592:
2562:
2535:
2516:
2493:
2458:
2445:
2422:
2407:
2382:
2367:
2352:
2333:
2318:
2295:
2276:
2261:
2242:
2223:
2202:
2183:
2164:
2145:
2132:
2119:
2096:
2081:
2064:
2058:each poet read.
2041:
2018:
1987:
1964:
1943:
1916:
1910:, as well as a
1901:
1878:
1870:
1640:Date of origin
1633:
1628:
1620:
1616:Name of format
1588:
1572:Haiku Magazine,
1564:
1455:
1403:"pattern") and
1161:
1132:
1068:
1055:
1049:cherry blossoms
1034:
1000:haikai no renga
967:
954:
920:Satomura Shōkyū
873:Emperor Go-Toba
763:Prior to Sōgi,
685:
649:Kamakura Period
516:Emperor Go-Tōba
436:
373:Toshiyori Zuinō
324:cloistered rule
223:anthology, the
173:
168:
31:
24:
17:
12:
11:
5:
3573:
3563:
3562:
3557:
3552:
3547:
3542:
3537:
3520:
3519:
3514:
3512:
3508:
3507:
3505:
3504:
3499:
3494:
3488:
3486:
3482:
3481:
3479:
3478:
3471:
3464:
3461:Nijūichidaishū
3457:
3450:
3443:
3437:
3435:
3431:
3430:
3428:
3427:
3420:
3413:
3406:
3399:
3392:
3385:
3378:
3371:
3363:
3361:
3357:
3356:
3349:
3348:
3341:
3334:
3326:
3320:
3319:
3284:
3269:
3266:
3265:
3264:
3258:
3234:
3231:
3228:
3227:
3218:Amerikastudien
3204:
3170:
3151:
3132:
3108:
3093:
3072:
3055:
3031:
3014:
2997:
2980:
2960:
2910:
2886:
2865:
2852:
2835:
2814:
2805:
2780:
2759:
2742:
2730:
2728:, p. 921.
2715:
2702:
2680:
2679:
2677:
2674:
2672:
2669:
2668:
2667:
2652:
2640:
2628:
2603:
2598:
2591:
2588:
2587:
2586:
2580:
2557:
2530:
2511:
2488:
2479:should be the
2440:
2417:
2377:
2362:
2347:
2328:
2313:
2290:
2271:
2256:
2237:
2216:
2197:
2178:
2159:
2114:
2091:
2059:
2036:
2013:
1982:
1958:
1957:
1938:
1869:
1866:
1863:
1862:
1859:
1856:
1853:
1850:
1847:
1839:
1838:
1835:
1832:
1829:
1826:
1823:
1819:
1818:
1815:
1814:Meiga Higashi
1812:
1809:
1806:
1803:
1799:
1798:
1795:
1792:
1789:
1786:
1783:
1779:
1778:
1775:
1772:
1769:
1766:
1763:
1759:
1758:
1755:
1752:
1749:
1746:
1743:
1739:
1738:
1735:
1732:
1729:
1726:
1723:
1719:
1718:
1716:
1713:
1710:
1707:
1704:
1700:
1699:
1697:
1694:
1691:
1688:
1685:
1681:
1680:
1678:
1675:
1672:
1669:
1666:
1662:
1661:
1658:
1655:
1652:
1649:
1646:
1642:
1641:
1638:
1635:
1630:
1622:
1617:
1587:
1584:
1563:
1560:
1454:
1451:
1160:
1153:
966:
963:
730:Northern Court
693:Nijō Yoshimoto
684:
681:
484:')—evolved in
172:
169:
167:
164:
108:Nijō Yoshimoto
21:Senku Ishigami
15:
9:
6:
4:
3:
2:
3572:
3561:
3558:
3556:
3555:Stanzaic form
3553:
3551:
3548:
3546:
3543:
3541:
3538:
3536:
3533:
3532:
3530:
3517:
3513:
3509:
3503:
3500:
3498:
3495:
3493:
3490:
3489:
3487:
3483:
3477:
3476:
3472:
3470:
3469:
3465:
3463:
3462:
3458:
3456:
3455:
3451:
3449:
3448:
3444:
3442:
3439:
3438:
3436:
3432:
3426:
3425:
3421:
3419:
3418:
3414:
3412:
3411:
3407:
3405:
3404:
3400:
3398:
3397:
3393:
3391:
3390:
3386:
3384:
3383:
3379:
3377:
3376:
3372:
3370:
3369:
3365:
3364:
3362:
3358:
3354:
3347:
3342:
3340:
3335:
3333:
3328:
3327:
3324:
3318:and a friend.
3317:
3313:
3309:
3305:
3301:
3295:
3291:
3287:
3281:
3277:
3272:
3271:
3261:
3255:
3251:
3247:
3246:
3241:
3240:Keene, Donald
3237:
3236:
3223:
3219:
3215:
3208:
3192:
3188:
3186:
3182:
3174:
3166:
3162:
3155:
3147:
3143:
3136:
3122:
3121:www.2hweb.net
3118:
3112:
3104:
3097:
3090:
3089:0-674-77385-3
3086:
3082:
3076:
3069:
3068:0-691-06372-9
3065:
3059:
3052:
3048:
3044:
3038:
3036:
3028:
3024:
3018:
3011:
3007:
3001:
2994:
2990:
2984:
2977:
2973:
2967:
2965:
2949:
2945:
2930:
2927:
2923:
2914:
2907:
2906:4-7700-1629-8
2903:
2899:
2895:
2890:
2883:
2882:0-691-01368-3
2879:
2875:
2872:Miner, Earl.
2869:
2862:
2856:
2849:
2845:
2839:
2832:
2831:0-674-77385-3
2828:
2824:
2818:
2809:
2802:
2801:0-8348-0176-0
2798:
2794:
2790:
2784:
2777:
2776:0-19-815165-9
2773:
2769:
2763:
2756:
2752:
2746:
2739:
2734:
2727:
2722:
2720:
2712:
2706:
2699:
2698:0-912966-61-0
2695:
2691:
2685:
2681:
2666:
2662:
2658:
2657:
2653:
2650:
2646:
2645:
2641:
2638:
2634:
2633:
2629:
2627:
2623:
2619:
2618:
2613:
2609:
2608:
2604:
2602:
2599:
2597:
2594:
2593:
2584:
2581:
2578:
2574:
2561:
2558:
2555:
2551:
2547:
2534:
2531:
2528:
2515:
2512:
2509:
2505:
2492:
2489:
2486:
2482:
2478:
2474:
2470:
2457:
2444:
2441:
2438:
2434:
2421:
2418:
2406:
2402:
2398:
2394:
2381:
2378:
2366:
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2060:
2057:
2053:
2040:
2037:
2034:
2030:
2017:
2014:
2011:
2007:
2003:
1999:
1986:
1983:
1980:
1976:
1963:
1960:
1959:
1955:
1942:
1939:
1936:
1932:
1928:
1915:
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1900:
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1890:
1877:
1876:
1872:
1871:
1860:
1858:Haku Asanuma
1857:
1854:
1851:
1848:
1846:on za rokku)
1845:
1841:
1840:
1836:
1833:
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1816:
1813:
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1781:
1780:
1776:
1774:Kaoru Kubota
1773:
1770:
1767:
1764:
1761:
1760:
1757:17th century
1756:
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1660:13th century
1659:
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1597:
1593:
1583:
1581:
1577:
1573:
1569:
1562:Outside Japan
1559:
1557:
1552:
1549:
1544:
1542:
1533:
1530:pattern, the
1529:
1525:
1521:
1516:
1514:
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1492:
1488:
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1356:
1341:
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1323:
1313:
1303:
1302:nagori-no-ori
1294:
1279:
1274:
1266:
1256:
1246:
1236:
1226:
1222:
1212:
1202:
1198:
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1150:
1143:
1130:
1126:
1122:
1117:
1115:
1114:
1109:
1105:
1101:
1100:Masaoka Shiki
1097:
1093:
1089:
1088:
1083:
1078:
1067:
1054:
1050:
1046:
1033:
1029:
1025:
1020:
1018:
1017:
1012:
1008:
1007:
1002:
1001:
996:
992:
988:
987:Chinese words
984:
980:
976:
972:
962:
960:
953:
949:
945:
941:
937:
935:
931:
921:
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876:
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858:
849:
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834:
766:
761:
747:
742:
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736:
731:
727:
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704:
694:
690:
683:Late medieval
680:
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583:
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196:
195:
190:
189:Yamato Takeru
185:
184:
178:
163:
155:
151:
141:
131:
121:
120:
109:
104:
96:
86:
85:
80:
79:Yamato Takeru
76:
72:
68:
59:
55:
51:
47:
37:
36:
29:
22:
3473:
3466:
3459:
3452:
3445:
3422:
3415:
3408:
3402:
3401:
3394:
3387:
3380:
3373:
3366:
3312:Matsuo Bashō
3303:
3299:
3275:
3244:
3221:
3217:
3207:
3195:. Retrieved
3191:the original
3184:
3180:
3173:
3164:
3161:Simply Haiku
3160:
3154:
3145:
3142:simply Haiku
3141:
3135:
3124:. Retrieved
3120:
3111:
3102:
3096:
3080:
3075:
3058:
3042:
3026:
3022:
3017:
3009:
3005:
3000:
2992:
2988:
2983:
2975:
2971:
2951:. Retrieved
2932:
2925:
2921:
2913:
2897:
2889:
2873:
2868:
2860:
2855:
2847:
2843:
2838:
2833:, pp. 33–72.
2822:
2817:
2808:
2792:
2788:
2783:
2767:
2762:
2754:
2750:
2745:
2733:
2710:
2705:
2689:
2684:
2664:
2660:
2654:
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2642:
2636:
2630:
2615:
2611:
2605:
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2576:
2572:
2559:
2553:
2549:
2545:
2532:
2526:
2513:
2507:
2503:
2490:
2487:interesting.
2484:
2483:to keep the
2480:
2476:
2472:
2468:
2455:
2442:
2436:
2432:
2419:
2404:
2400:
2396:
2392:
2379:
2364:
2349:
2343:
2330:
2315:
2309:
2305:
2293:kannonbiraki
2292:
2273:
2258:
2252:
2239:
2233:
2218:
2212:
2199:
2193:
2180:
2174:
2161:
2155:
2142:
2129:
2116:
2110:
2106:
2093:
2078:
2074:
2073:: To hold a
2061:
2055:
2051:
2038:
2032:
2028:
2015:
2009:
2005:
2001:
1997:
1984:
1978:
1974:
1961:
1953:
1940:
1937:poetry form.
1930:
1926:
1911:
1896:
1892:
1888:
1873:
1843:
1625:
1603:
1599:
1595:
1591:
1589:
1575:
1571:
1567:
1565:
1555:
1553:
1547:
1545:
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1531:
1527:
1523:
1519:
1517:
1512:
1505:
1500:
1490:
1486:
1477:
1468:
1458:
1456:
1440:
1430:
1427:
1422:
1418:
1414:
1404:
1394:
1390:
1386:
1382:
1372:
1370:
1358:
1354:
1339:
1335:
1332:
1321:
1311:
1301:
1292:
1277:
1275:
1264:
1254:
1244:
1234:
1224:
1220:
1210:
1200:
1196:
1192:
1188:
1184:
1178:
1168:
1164:
1162:
1156:
1148:
1128:
1124:
1120:
1118:
1111:
1108:haikai no ku
1107:
1103:
1096:Meiji period
1085:
1081:
1079:
1065:
1052:
1044:
1031:
1023:
1021:
1014:
1011:Matsuo Bashō
1004:
998:
994:
990:
982:
978:
974:
968:
958:
951:
947:
939:
938:
934:Matsuo Bashō
911:
890:
879:
877:
856:
847:
835:
762:
743:
738:
734:
725:
717:
712:
686:
675:
671:
661:
657:
646:
641:
632:
624:hana no moto
623:
613:
606:hana no moto
605:
595:
582:hana no moto
581:
579:
566:
558:
554:
545:
541:
537:
533:
523:
519:
503:
498:
494:
489:
472:
470:
464:
459:
452:
432:
430:
420:
411:
404:
398:
394:
390:
385:
383:
372:
344:
340:
332:
319:
317:
312:
302:
292:
282:
278:
263:
243:
231:
224:
220:
216:
210:
206:
192:
176:
174:
153:
149:
140:Matsuo Bashō
117:
105:
82:
75:Kantō region
66:
57:
49:
45:
34:
33:
32:
3360:Major forms
3302:, plus two
3233:Works cited
3224:(1): 29–49.
2953:23 December
2944:Nihon-Jiten
2644:Renri Hishō
1868:Terminology
1822:Triparshva
1637:Originator
1621:of stanzas
1598:(orthodox)
1441:Renri Hishō
1084:chain, the
1066:tsuki no za
642:nijō no ama
486:Qin dynasty
311:100-stanza
46:linked poem
3529:Categories
3316:Yosa Buson
3285:0691063729
3197:16 January
3183:entry for
3126:2024-04-08
3051:0671628372
2738:Keene 1999
2726:Keene 1999
2671:References
2439:has begun.
1624:Number of
1053:hana no za
1028:Edo period
971:Edo period
839:Tsukubashū
703:Tsukubashū
575:Tsukubashū
226:Tsukubashū
119:Tsukubashū
3454:Man'yōshū
3242:(1999) .
2676:Citations
2365:hizaokuri
2306:uchikoshi
2259:sarikirai
2232:: Modern
2200:shikimoku
2181:uchikoshi
2130:tsukekata
2094:wakiokori
1855:variable
1852:variable
1849:variable
1634:of sides
1548:fushimono
979:shikimoku
965:Edo–Meiji
948:shikimoku
739:fushimono
735:shikimoku
676:fushimono
672:fushimono
662:fushimono
658:shikimoku
460:utakotoba
446:utakotoba
349:Kin'yōshū
3502:Rokkasen
3181:Daijirin
2590:See also
2533:shuhitsu
2316:haramiku
2287:Buddhism
2177:happens.
2143:tsukeaji
1782:Jūnichō
1754:unknown
1734:unknown
1715:unknown
1703:Yoyoshi
1696:unknown
1677:unknown
1657:unknown
1645:Hyakuin
1541:rengashi
1478:shuhitsu
1340:ikkumono
1030:was the
454:Kokinshū
406:hiragana
395:chōrenga
391:tanrenga
386:tanrenga
345:chōrenga
320:tanrenga
293:chōrenga
283:tanrenga
234:Manyoshu
207:kata-uta
154:rengakai
3447:Kaifūsō
3294:4493857
3105:(2): 8.
2920:連歌・連句 (
2651:poetics
2350:degachi
2344:degachi
2310:tsukeku
2175:tsukeai
2117:tsukeai
1842:Rokku (
1802:Nijūin
1762:Shisan
1684:Gojūin
1632:Number
1619:Number
1586:Formats
1522:tempo,
1520:jōhakyū
1467:, also
1431:tsukeai
1373:jōhakyū
1293:sho-ori
1245:tsukeku
1219:). The
1165:hyakuin
1157:Hyakuin
1136:「文学に非ず」
1026:in the
969:In the
844:水無瀬三吟百韻
713:hyakuin
687:In the
598:renga (
584:renga (
567:hyakuin
520:hyakuin
473:lián jù
433:hyakuin
305:renga (
303:hyakuin
301:), the
203:Tsukuba
194:katauta
166:History
73:in the
3468:Kai Ōi
3417:senryū
3375:kanshi
3368:haikai
3292:
3282:
3256:
3087:
3066:
3049:
2904:
2880:
2829:
2799:
2778:, p.43
2774:
2696:
2656:Renshi
2626:senryū
2583:yukiyō
2577:bunnin
2560:bunnin
2514:teishu
2504:ichiza
2469:ichiza
2456:sabaki
2420:ichiza
2405:kaishū
2397:haikai
2240:kukazu
2079:chōgyō
2008:, and
2006:daisan
1985:hiraku
1962:daisan
1913:kireji
1817:1980s
1777:1970s
1722:Kasen
1665:Senku
1626:kaishi
1604:mushin
1602:, and
1580:haibun
1532:yukiyō
1513:bundai
1355:jukkai
1278:kaishi
1255:hiraku
1235:daisan
1225:wakiku
1211:kireji
1149:renga'
1147:. The
1113:haikai
1019:poet.
1016:haikai
1009:, and
1006:haikai
930:haikai
880:haikai
853:湯山三吟百韻
812:権大僧都心敬
629:一日千句連歌
546:mushin
538:mushin
529:有心無心連歌
511:新古今和歌集
347:. The
212:sedōka
199:Nabari
183:Kojiki
150:haikai
93:) and
84:haikai
3535:Renga
3475:Iroha
3424:tanka
3410:renku
3403:renga
3396:hokku
3389:haiku
3304:renga
3300:renga
3185:renju
3027:JSTOR
3010:JSTOR
2993:JSTOR
2976:JSTOR
2926:Renku
2922:Renga
2848:JSTOR
2791:renga
2753:, in
2665:renku
2661:renga
2649:renga
2637:renga
2632:Renku
2622:haiku
2617:renku
2612:renga
2607:Hokku
2573:renga
2554:renga
2550:renga
2546:renga
2527:renga
2508:hokku
2491:kyaku
2485:renga
2481:sōshō
2477:renju
2473:renga
2443:sōshō
2437:renga
2433:renju
2401:renga
2393:renga
2380:renju
2331:asaru
2274:rinne
2253:renga
2234:renga
2220:renku
2213:renga
2194:maeku
2162:maeku
2156:renga
2107:hokku
2075:renga
2062:kōgyō
2052:ageku
2039:kuage
2033:renga
2029:renga
2016:ageku
2010:ageku
1998:hokku
1975:renga
1954:renga
1935:haiku
1931:renga
1927:renga
1893:renga
1889:renga
1875:hokku
1861:2000
1837:2005
1797:1989
1737:1423
1668:1000
1608:renku
1600:renga
1596:ushin
1592:renga
1576:renga
1568:renga
1501:hokku
1487:sōshō
1469:renjū
1459:renju
1359:rinne
1322:tsuki
1265:ageku
1221:hokku
1197:hokku
1193:hokku
1185:hokku
1180:haiku
1169:hokku
1159:renga
1129:Renga
1125:renga
1121:renga
1104:haiku
1092:haiku
1087:hokku
1082:renga
1045:kasen
1032:kasen
1024:renga
995:renga
991:renga
983:renga
975:renga
959:renga
955:'
952:renga
940:Renga
757:新菟玖波集
587:花の下連歌
559:ushin
555:kyōka
542:ushin
534:ushin
499:renga
495:renga
490:renga
482:renku
421:chōku
412:tanku
400:iroha
341:insei
333:insei
313:renga
221:renga
217:renga
177:renga
95:haiku
35:Renga
3382:waka
3308:Sōgi
3290:OCLC
3280:ISBN
3254:ISBN
3199:2013
3167:(3).
3148:(2).
3085:ISBN
3064:ISBN
3047:ISBN
2955:2012
2938:日本辞典
2908:p.55
2902:ISBN
2884:pbk.
2878:ISBN
2827:ISBN
2803:p.11
2797:ISBN
2772:ISBN
2694:ISBN
2663:and
2624:and
2614:and
2308:and
2299:観音開き
2111:waki
2002:waki
1941:waki
1898:kigo
1648:100
1578:and
1526:and
1446:連理秘抄
1336:waka
1312:hana
1307:四花八月
1201:kigo
1163:The
1064:and
925:里村昌休
824:宗伊法師
818:法眼専順
806:能阿法師
800:法印行助
794:宗砌法師
788:智蘊法師
770:一条兼良
746:Sōgi
726:jige
708:菟玖波集
698:二条良基
619:善阿法師
614:jige
601:地下連歌
596:Jige
536:and
465:waka
419:and
378:俊頼髄脳
337:waka
318:The
308:百韻連歌
264:geku
259:大伴家持
244:jōku
201:and
145:松尾芭蕉
130:Sōgi
125:菟玖波集
113:二条良基
63:筑波の道
54:mora
50:ku (
3053:p12
2700:p.3
2395:or
2371:膝送り
2356:出勝ち
2337:求食る
2322:孕み句
2149:付け味
2141:or
2136:付け方
2100:脇起り
2045:句上げ
1979:-te
1844:aka
1825:22
1805:20
1785:12
1765:12
1745:18
1725:36
1706:44
1687:50
1674:80
1671:40
1537:連歌師
1528:mon
1449:).
1423:mon
1415:Mon
1395:mon
1391:kyū
1378:序破急
1345:一句物
1298:名残折
1273:).
1233:),
1072:月の座
1059:花の座
830:竹林抄
776:新玉集
644:).
638:二条尼
440:歌言葉
384:As
381:).
368:源俊頼
354:金葉集
298:長連歌
288:短連歌
279:ama
239:万葉集
159:連歌会
103:).
3531::
3288:.
3252:.
3222:51
3220:.
3216:.
3163:.
3144:.
3119:.
3034:^
2963:^
2941:,
2931:.
2924:,
2896:.
2718:^
2566:文音
2539:執筆
2520:亭主
2462:捌き
2449:宗匠
2426:一座
2411:会衆
2386:連衆
2280:輪廻
2265:去嫌
2246:句数
2227:連句
2206:式目
2187:打越
2168:前句
2123:付合
2085:張行
2068:興行
2056:ku
2022:挙句
2004:,
2000:,
1991:平句
1968:第三
1920:切字
1905:季語
1882:発句
1831:3
1828:1
1811:4
1808:2
1791:1
1788:1
1771:4
1768:2
1751:2
1748:1
1731:4
1728:2
1712:4
1709:2
1693:4
1690:2
1654:8
1651:4
1610:)
1556:ba
1524:ji
1509:文台
1491:ba
1483:宗匠
1474:執筆
1464:連衆
1436:付合
1419:ji
1405:ji
1387:ha
1383:jō
1364:輪廻
1351:述懐
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