- Title Pages
- Dedication
- Acknowledgments
- List of Abbreviations
- Introduction
- One Prologue
- Two Renga History
- Three On the <i>Tsukubashū</i>
- Four Post-<i>Shinkokinshū</i> Waka
- Five Ancient and Middle-Period Renga
- Six The Character of the Work of the Early Masters
- Seven The Style of Ineffable Depth (<i>Yūgen</i>)
- 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 <i>Hen-jo-dai-kyoku-ryū</i> as the Structure of the Renga Link
- Thirty-Five On <i>Rikugi</i>:
- 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
- Forty About <i>Hen-jo-dai-kyoku-ryū</i>
- Forty-One The Central Place of Grace [<i>en</i>] in the Poetic Process
- Forty-Two Verses on the Moon, Flowers, and Snow
- Forty-Three The Verse of Ineffable Remoteness (<i>Yōon</i>)
- 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 <i>Maeku</i> and <i>Tsukeku</i>
- 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
The Question of the True Buddha and the Ultimate Poem
The Question of the True Buddha and the Ultimate Poem
- Chapter:
- (p.197) Sixty The Question of the True Buddha and the Ultimate Poem
- Source:
- Murmured Conversations
- Publisher:
- Stanford University Press
This chapter focuses on Sasamegoto's construction of a poetics based on a Mahayana Buddhist understanding of reality and constitutes Shinkei's thought on Buddhism and poetry. In particular, it deals with Shinkei's views on practicing Buddhism in pursuit of the true Buddha, the configuration of the ultimate waka or renga, or undergoing the mental discipline of Poetry in order to realize its numinous ground. This chapter argues that what is called the true Buddha or the ultimate poem has no predetermined configuration. Rather, it is merely a feeling (kansei) or an inner power (toku) that manifests itself according to the time and in response to circumstance. In Buddhism, the Wisdom School aspires to the lofty, while the Compassion School trusts in the miraculous grace of the lowly. In the Way of Poetry, the School of Compassion seems to have its followers.
Keywords: Shinkei, Sasamegoto, Buddhism, true Buddha, Japanese poetry, ultimate poem, kansei, toku, Compassion School, Way of Poetry
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- Title Pages
- Dedication
- Acknowledgments
- List of Abbreviations
- Introduction
- One Prologue
- Two Renga History
- Three On the <i>Tsukubashū</i>
- Four Post-<i>Shinkokinshū</i> Waka
- Five Ancient and Middle-Period Renga
- Six The Character of the Work of the Early Masters
- Seven The Style of Ineffable Depth (<i>Yūgen</i>)
- 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 <i>Hen-jo-dai-kyoku-ryū</i> as the Structure of the Renga Link
- Thirty-Five On <i>Rikugi</i>:
- 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
- Forty About <i>Hen-jo-dai-kyoku-ryū</i>
- Forty-One The Central Place of Grace [<i>en</i>] in the Poetic Process
- Forty-Two Verses on the Moon, Flowers, and Snow
- Forty-Three The Verse of Ineffable Remoteness (<i>Yōon</i>)
- 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 <i>Maeku</i> and <i>Tsukeku</i>
- 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
