- Title Pages
- Dedication
- Acknowledgments
- List of Abbreviations
- Introduction
-
One Prologue -
Two Renga History -
Three On the Tsukubashū -
Four Post-Shinkokinshū Waka -
Five Ancient and Middle-Period Renga -
Six The Character of the Work of the Early Masters -
Seven The Style of Ineffable Depth (Yūgen) -
Eight Learning and the Study of Renga -
Nine The Role of Waka in Renga Training -
Ten On Hokku -
Eleven Double Meaning in Poetry -
Twelve The Manifold Configurations of Poetry -
Thirteen The Roots of Poetry in Temporality -
Fourteen Poetic Process as a Contemplation -
Fifteen The Wisdom of Nondiscrimination -
Sixteen Right Teaching and the Individual Poet -
Seventeen The Influence of Companions in the Way -
Eighteen Poetry and the Mundane Mind -
Nineteen The Issue of Fame as Index of Poetic Value -
Twenty Poetry is an Existential Discipline -
Twenty-One Poetry Is a Self-Consuming Passion -
Twenty-Two Worldly Glory Versus Reclusive Concentration -
Twenty-Three Criticism is a Function of One's Own Limitations -
Twenty-Four Sitting with a Master -
Twenty-Five Constant Practice Is Decisive -
Twenty-Six Valorizing the Deviant or Obscure -
Twenty-Seven The Difficulty of Comprehending Superior Poetry -
Twenty-Eight The “Vulgar” Verse -
Twenty-Nine Plagiarism -
Thirty Excessive Straining After Effect -
Thirty-One Semantic Confusion -
Thirty-Two Incomprehensibility -
Thirty-Three The Close Link and the Distant Link -
Thirty-Four On Hen-jo-dai-kyoku-ryū as the Structure of the Renga Link -
Thirty-Five On Rikugi: -
Thirty-Six Poetry Contests and Criticism -
Thirty-Seven Marks and Grade Points in Renga -
Thirty-Eight One's True Poetry Emerges in Old Age -
Thirty-Nine The State of Renga in Our Time - Appendix: Biographical Notes
- Bibliography
- Character List
- Index of First Lines
- Subject Index
Sitting with a Master
Sitting with a Master
- Chapter:
- (p.75) Twenty-Four Sitting with a Master
- Source:
- Murmured Conversations
- Publisher:
- Stanford University Press
Perceptivity plays a crucial role, not only in evaluating another's work, but also when it comes to master-disciple relationship. While an excellent teacher constitutes “the great cause and condition” that helps individual talent to flourish, not even the greatest master can help a student who is not perceptive, either due to insufficient wit or lack of artistic sensibility. One example of a student's receptivity is Shinkei's emphasis on an inquiring attitude, or the desire to seek out the deepest truths in the Way of Poetry. In Sasamegoto II he illustrates the importance of this attitude by saying that “it is far better to criticize the Dharma and fall into hell than merely to make offerings to numberless Buddhas.” Hence, discipleship is a process of active penetration and “appropriation,” fueled by desire. In the medieval pedagogy of the Way, however, this process is less an appropriation than the mutuality of understanding suggested by the Zen slogan “by mind transmit the mind.”
Keywords: Shinkei, master, student, Sasamegoto, Way of Poetry, perceptivity, discipleship, appropriation, Japanese poetry
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- Title Pages
- Dedication
- Acknowledgments
- List of Abbreviations
- Introduction
-
One Prologue -
Two Renga History -
Three On the Tsukubashū -
Four Post-Shinkokinshū Waka -
Five Ancient and Middle-Period Renga -
Six The Character of the Work of the Early Masters -
Seven The Style of Ineffable Depth (Yūgen) -
Eight Learning and the Study of Renga -
Nine The Role of Waka in Renga Training -
Ten On Hokku -
Eleven Double Meaning in Poetry -
Twelve The Manifold Configurations of Poetry -
Thirteen The Roots of Poetry in Temporality -
Fourteen Poetic Process as a Contemplation -
Fifteen The Wisdom of Nondiscrimination -
Sixteen Right Teaching and the Individual Poet -
Seventeen The Influence of Companions in the Way -
Eighteen Poetry and the Mundane Mind -
Nineteen The Issue of Fame as Index of Poetic Value -
Twenty Poetry is an Existential Discipline -
Twenty-One Poetry Is a Self-Consuming Passion -
Twenty-Two Worldly Glory Versus Reclusive Concentration -
Twenty-Three Criticism is a Function of One's Own Limitations -
Twenty-Four Sitting with a Master -
Twenty-Five Constant Practice Is Decisive -
Twenty-Six Valorizing the Deviant or Obscure -
Twenty-Seven The Difficulty of Comprehending Superior Poetry -
Twenty-Eight The “Vulgar” Verse -
Twenty-Nine Plagiarism -
Thirty Excessive Straining After Effect -
Thirty-One Semantic Confusion -
Thirty-Two Incomprehensibility -
Thirty-Three The Close Link and the Distant Link -
Thirty-Four On Hen-jo-dai-kyoku-ryū as the Structure of the Renga Link -
Thirty-Five On Rikugi: -
Thirty-Six Poetry Contests and Criticism -
Thirty-Seven Marks and Grade Points in Renga -
Thirty-Eight One's True Poetry Emerges in Old Age -
Thirty-Nine The State of Renga in Our Time - Appendix: Biographical Notes
- Bibliography
- Character List
- Index of First Lines
- Subject Index
