- Title Pages
- Dedication
- Acknowledgments
- List of Abbreviations
- Introduction
-
Forty About Hen-jo-dai-kyoku-ryū -
Forty-One The Central Place of Grace [en] in the Poetic Process -
Forty-Two Verses on the Moon, Flowers, and Snow -
Forty-Three The Verse of Ineffable Remoteness (Yōon) -
Forty-Four Renga Rules and Buddhist Precepts: -
Forty-Five Poetry and Zen Meditation, the Cosmic Body, and the True Word -
Forty-Six The Link Betwee Maeku and Tsukeku -
Forty-Seven The Nature and Goal of Criticism -
Forty-Eight Selecting Friends of the Way -
Forty-Nine The Close Link and the Distant Link -
Fifty On the Issue of the Ultimate Style -
Fifty-One Discipline in the Mind-Ground -
Fifty-Two Orthodoxy and Plurality -
Fifty-Three Reclusion -
Fifty-Four The Impartiality of Divine Response -
Fifty-Five Heredity, Social Status, and the Way -
Fifty-Six The Mark of Temporality in Talent, Training, and Fame or Obscurity -
Fifty-Seven The Difficulty of Achieving the Way: -
Fifty-Eight Mutually Supportive and Antagonistic Arts -
Fifty-Nine The Practice of Poetry in Our Time -
Sixty The Question of the True Buddha and the Ultimate Poem -
Sixty-One The Ten Virtues -
Sixty-Two Epilogue - Appendix: Biographical Notes
- Bibliography
- Character List
- Index of First Lines
- Subject Index
About Hen-jo-dai-kyoku-ryū
About Hen-jo-dai-kyoku-ryū
- Chapter:
- (p.137) Forty About Hen-jo-dai-kyoku-ryū
- Source:
- Murmured Conversations
- Publisher:
- Stanford University Press
Hen-jo-dai-kyoku-ryū refers to the five-part structure of the waka poem: hen (Prelude), jo (Beginning), dai (Topic), kyoku (Statement), and ryū (Dissolve). In renga, one should be able to sense this structure by reciting the upper and lower verses together as one. Paying no attention to this matter often results in absurd compositions. This chapter further elaborates on the structure of linking between any two contiguous verses in renga (tsukeai), but also characterizes the movement of the whole sequence as a smoothly flowing jo-ha-kyū progression. It essentially valorizes the ability to read, to appreciate, to discern “the good or bad” in others' works—in other words, the critical faculty—over facility in renga composition per se.
Keywords: hen-jo-dai-kyoku-ryū, waka, Japanese poetry, linking, verses, tsukeai, jo-ha-kyū
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- Title Pages
- Dedication
- Acknowledgments
- List of Abbreviations
- Introduction
-
Forty About Hen-jo-dai-kyoku-ryū -
Forty-One The Central Place of Grace [en] in the Poetic Process -
Forty-Two Verses on the Moon, Flowers, and Snow -
Forty-Three The Verse of Ineffable Remoteness (Yōon) -
Forty-Four Renga Rules and Buddhist Precepts: -
Forty-Five Poetry and Zen Meditation, the Cosmic Body, and the True Word -
Forty-Six The Link Betwee Maeku and Tsukeku -
Forty-Seven The Nature and Goal of Criticism -
Forty-Eight Selecting Friends of the Way -
Forty-Nine The Close Link and the Distant Link -
Fifty On the Issue of the Ultimate Style -
Fifty-One Discipline in the Mind-Ground -
Fifty-Two Orthodoxy and Plurality -
Fifty-Three Reclusion -
Fifty-Four The Impartiality of Divine Response -
Fifty-Five Heredity, Social Status, and the Way -
Fifty-Six The Mark of Temporality in Talent, Training, and Fame or Obscurity -
Fifty-Seven The Difficulty of Achieving the Way: -
Fifty-Eight Mutually Supportive and Antagonistic Arts -
Fifty-Nine The Practice of Poetry in Our Time -
Sixty The Question of the True Buddha and the Ultimate Poem -
Sixty-One The Ten Virtues -
Sixty-Two Epilogue - Appendix: Biographical Notes
- Bibliography
- Character List
- Index of First Lines
- Subject Index
