- 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
On the Issue of the Ultimate Style
On the Issue of the Ultimate Style
- Chapter:
- (p.167) Fifty On the Issue of the Ultimate Style
- Source:
- Murmured Conversations
- Publisher:
- Stanford University Press
Of the ten styles of poetry, Priest Jakuren, the lords Ariie, Ietaka, Masatsune, and others considered the Style of Ineffable Depth (yūgentei) to be the most exalted one. However, the Retired Sovereign (Go-Toba), along with the Regent Yoshitsune, the lords Shunzei, Michitomo, Teika, and others declared the Style of Meditation (ushintei) as the most noble and consummate. At first glance, there seems to be inconsistency in Shinkei's view of the ultimate style of poetry. He shows esteem for the poetry and criticism of Shunzei and Teika, but also confirms the overwhelming importance of yūgentei. However, he defines yūgentei as poetry in which the heart-mind (kokoro) is paramount, suggesting that he understands great poetry primarily as a manifestation of spiritual grace and conviction. In other words, Shinkei sees no substantive difference between ushintei and yūgentei. He also correlates ushin with the mode of meditation but is nevertheless open to other modes of “the ultimate.”
Keywords: Shinkei, style, Japanese poetry, yūgentei, ushintei, Style of Ineffable Depth, Style of Meditation, spiritual grace, conviction
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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
