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Murmured ConversationsA Treatise on Poetry and Buddhism by the Poet-Monk Shinkei$
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Esperanza Ramirez-Christensen

Print publication date: 2008

Print ISBN-13: 9780804748636

Published to Stanford Scholarship Online: June 2013

DOI: 10.11126/stanford/9780804748636.001.0001

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On Hen-jo-dai-kyoku-ryū as the Structure of the Renga Link

On Hen-jo-dai-kyoku-ryū as the Structure of the Renga Link

Chapter:
(p.102) Thirty-Four On Hen-jo-dai-kyoku-ryū as the Structure of the Renga Link
Source:
Murmured Conversations
Publisher:
Stanford University Press
DOI:10.11126/stanford/9780804748636.003.0035

This chapter focuses on the sequential pattern in waka called hen-jo-dai-kyoku-ryū, which, according to a former master, is of utmost importance in renga. For example, if a short verse contains kyoku (that is, intends to make a Statement), then the long verse should assume the hen-jo-dai posture and leave something unsaid. On the other hand, if a long verse intends to make a Statement and is emphatically saying so, then the short verse should adopt the hen-jo-dai stance and let it flow through. Shinkei views the verse pair, renga's basic structural unit, as an oscillation between a Statement and its Context. Hence, if one aspect is taken by the maeku, then the other should be taken by the tsukeku. In waka, since one does not wish to express a Statement in two places in the same poem, he/she tends to use prefatory words (jo no kotoba) or pause words (yasumetaru kotoba) called hampi no ku. There are many examples of both waka and renga that employ prefatory words, including the ancient poems.

Keywords:   waka, renga, hen-jo-dai-kyoku-ryū, Shinkei, Japanese poetry, verses, Statement, prefatory words

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