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

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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(p.402) Subject Index

(p.402) Subject Index

Source:
Murmured Conversations
Publisher:
Stanford University Press
Akahane Manabu, 288n2
Allegorical Mode (Fū), 109, 111, 112–13, 261n3
allegory (hiyu), 138, 139
All-Encompassing Oneness (ennyū), 81, 252n3
allusive variation (honkadori), 87–88
ambiguity, mode of (fumyōtei), 145–47, 196, 288n2
Analects (Confucius), see Rongo (Analects) (Confucius)
analogical modes, 112, 264n8
Andao, 60, 245n1
Anle ji (Anrakushū) (Daochuo), 209n3
appropriation, 74, 76
araki ku (rough verse), 30, 221n13
Ariie, Lord, 86, 167, 252n1, 312n1
Arima, Prince, 216n4
Ariwara Motokata, 215n1
Ariwara Narihira, 220n7
Ariyoshi Tamotsu, 288n1
Arresting Style, 127–28
arts: mutually supportive and antagonistic, 188–89;
vitality of medieval Japanese, 67
Ashikaga Takauji, 17
Ashikaga Yoshiakira, 17
associative words (engo), 99, 113
Asukai Masatsune, see Masatsune
authorship, 88
aware: and Close and Distant Links, 166;
in poetic way of seeing, 186;
and stimulusresponse dynamics, 195;
and Style of Meditation, 169;
for those who suffer obscurity, 184;
and ultimate style, 167
Bai Juyi: Chōgonka, 145, 290n5;
Jiandi song, 65, 248n5;
“Karyō no yoru, omou koto ari,” 288n2;
Pipa xing, 145, 147, 289n4;
“a thousand miles starts right underfoot,” 323n2;
and Yuan Zhen, 162, 163, 309n6
Bajōshū, 201
Banri Shūkyū, 242n2
Bashō, 95, 113, 142, 316n3, 351
bi, 111, 261n1, 263n6
Bodhidharma, 162–63, 309n8
Bontō: biographical notes, 338;
Bontōan renga awase jūgoban, 114;
Bontōanshu hentōsho, 282n1, 292n9, 338;
Chōtanshō, 262n4, 338;
and Mashimo Mitsuhiro, 268n8;
on practice, 77–78;
on rhyming, 214n3;
in Shinkei's history of renga, 121;
Sōzei as student of, 355
Bontōan renga awase jūgoban, 114
Bontōanshu hentōsho, 282n1, 292n9, 338
bonzoku (vulgar) verse, 83–85
Boya, 60, 246n4
Bo Yi, 56, 244n2
Bo Yu (Li), 182, 322n5
Brower, Robert, 5
Buddha: assembly roll up their mats and leave, 62, 247n3;
austerities undergone by, 66, 248n1;
casts off his princely rank, 171–72, 315n5;
derided by arrogant priests, 176;
on the Dharma as ineffable and difficult to conceive, 192, 326n11;
five stages of teaching of, 250n8;
holds out a flower and only Kāśyapa smiles, 185, 186, 324n6;
name as not heard by three hundred million, 64, 248n4;
Tathagata, 155, 160, 197, 308n12;
three bodies of, 62, 165, 195–96, 247n4, 327n18;
on Ultimate Emptiness, 164;
unconditioned compassion of, 331n9
Buddha-wisdom, 144, 155, 288n8
Buddhism: analogies for poetic process from, 69–70;
compassionate pedagogy of, 195;
criticism in, 159;
on dependent origination, 61;
in double articulation of Shinkei's thought, 198;
five prohibitions of, 149, 298n11;
on highest stage of the Way, 68, 250n8;
Introduction-Proper Teaching-Propagation pattern of sutras, 104, 138, 282n6;
parable of “poor son,” 120, 267n4;
plurality of sects, 173, 316n4;
poetry and Buddhist discipline, 188;
renga rules and precepts of, 148–52, 297n10;
returning from the deep to the mundane, 198;
scripture cited in Sasamegoto, 7;
six perfections of, 161, 178, 319n3;
stages in training in, 149, 151;
on temporality in each thought, 185;
the true Buddha and the ultimate poem, 197–99;
Way of Poetry (p.403) associated with Way of, 7, 67. See also Tendai Buddhism; Zen
calligraphy, 81, 188
Cao Zhi, 190, 324n1
Categorical Style: as fundamental configuration, 38;
verses by old poets in, 128–29
celebrity, 176–77. See also fame
chain renga (kusari renga), 13–14, 236n1
Chikuenshō, 262n4, 264n8, 265n10, 265n13
chill and meager (hie yase), 119, 262n4
chill and still (hiesabi), 140, 142
Chinkasai (Flower Pacification Festival), 15
chinshi, 54
Chirenshō, 214n3
Chisato, Ōe no, 289n2
Chishō Daishi, 292n11, 295n7, 331n9
Chiun, 87, 121, 253n4, 269n10
Chōgonka (Bai Juyi), 290n5
Chōmei: on balance of form and content, 38;
on Bishop Gembin, 295n6;
hut of, 175, 316n1;
on Jakuren, 343;
and Santai waka, 231n34;
on Tomochika, 358. See also Mumyōshō (Chōmei)
Chōtanshō (Bontō), 262n4, 338
Chūin, 241n4
Chūron (Nagarjuna), 165
clashing, rules against, 148, 293n1
Classic Style: as fundamental configuration, 38;
verses by old poets in, 126–27
Close Link,see shinku (Close Link)
commercialism, 3
compassion, unconditioned, 198, 199, 331n9
Compassion School, 197–98, 201
configuration,see sugata (configuration)
Confucius (Kongzi): as forty before he ceased being deluded, 118, 119, 267n3;
on freedom and rules, 149, 151, 299n12;
and Gan Kai, 316n3;
the gentleman works for the Way, 318n9;
Kōshikego, 306n4;
as not blessed by the times, 64, 247n2;
Shinkei cites, 7;
as the timely one, 56, 244n2;
on who reaches old age and does not die, 183, 322n8. See also Rongo (Analects) (Confucius)
consciousness, stages of, 330n7
consonantal rhyming, 214n3
contemplation, poetic process as, 53–55
contests, 114–15
conventional associations, see yoriai (conventional associations)
Cranston, Edwin A., 271n15
criticism: as function of one's limitations, 73–74;
nature and goal of, 159–61;
practicing poets as critics, 189
cutting phrase (hyakku), 138
Daichidoron (Nagarjuna), 246n6, 285n5, 297n10, 303n, 318n10, 335n5
Dai'e, 283n6
Daijikkyō, 325n5
Dainichikyō, 292n11
Daochuo, 209n3
Daode jing, 323n2, 326n15, 334n3
Daruma sect, 94
deep feeling (nasake fukashi), 163
Demon-Quelling Style (Style of Power): in classification of styles, 38;
described, 235n5;
in learning renga, 36, 38;
in manifold configurations of poetry, 50;
Shinkei on, 38, 39;
Teika on, 36, 168, 236n6;
as ultimate style, 170, 236n6
Dengyō Daishi, 263n7
dependent origination (engi), 61, 163
descriptive symbolism, 5
deviation from orthodoxy, 79–80
Dharma: Counterfeit and Degenerate, 120, 132, 190, 191, 267n2;
criticizing, 159, 161;
hidden eye of the True Dharma, 185–86;
as ineffable and difficult to conceive, 192, 326n11;
obsession with, 121;
and poetic way of seeing, 186;
rain compared with, 268n5;
sharpness of mind for arriving at true, 148, 294n4. See also Dharma Body
Dharma Body: as almost beyond grasp, 62;
defined, 247n4;
(Shintō) deities seen as manifestations of, 329n5;
high mind and, 63;
ineffably remote verses and, 195–96;
and karma, 181, 321n11;
and Metamorphosis Body, 197, 327n1;
poetry and Zen meditation, 154–55;
verse of ineffable remoteness (yōon) and, 146, 147, 198, 289n2
dhyana meditation, 144, 288n8
difference, 174
Di Huang, 159, 307n7
Direct Mode (Ga), 110, 111, 112, 265n10
discipleship, 75–76
divine response, impartiality of, 178–79
Dōin, Lay Monk, 171, 314n2, 339
Dōjo, Cloistered Prince, 71, 250n2
Dōjo-hōshinnō-ke gojisshu waka, 71, 250n2
dōrui (plagiarism), 86–88
dōshin, 201
Dōsojin of the Izumo Road, 216n6
double meaning (shūku), 45–47, 92, 99
Du Fu, 51, 62, 242n2, 247n2
egolessness, 61
Eiga no ittei (Tameie), 357
Eikyō era, 121, 270n12
Emerson, Ralph Waldo, 84
emptiness,see (emptiness)
en (grace, beauty), 140–42;
as essence of Sasamegoto, 2;
and hokku, 44;
kokoro no en, 27, 35, 39, 141, 169, 289n2;
Shinkei's conception of, 4–5
engi (dependent origination), 61, 163
Engo, 283n6
engo (associative words), 99, 113
engyō (Perfect Teaching), 81, 252n3
(p.404) enlightenment: and Close and Distant Links, 164, 166;
and criticism, 306n3;
and discipline in the mind-ground, 171, 172;
Hossō school on, 287n7;
latent capacity for, 193–94;
Middle Way and search for, 198;
as not depending on others, 204, 333n2;
poetic excellence compared with, 185, 186;
in poetry, 174;
sudden, 331n9. See also satori
ennyū (All-Encompassing Oneness), 81, 252n3
Eshin (Genshin), Bishop, 246n5, 321n11
Esoteric (Mikkyō) Buddhism, 154–55, 301n4, 303n, 321n11, 330n7
ethereal beauty (yōen), 228n29
fame: as index of poetic value, 64–65;
mark of temporality in, 182–84;
as provisional distinction, 181;
reclusive concentration versus worldly, 71–72, 176–77
feng, 111, 261n1, 261n3
figurative modes, 112
Five Buddhas of the mandala, 153, 155, 301n4
five Buddhist prohibitions, 149, 298n11
five cardinal virtues, 149, 298n11
Five Corporeal Parts, 138, 282n4
Five Great Constitutive elements (godai shosei), 153, 301n4
Five Wisdoms (gochi), 153, 155, 301n4
flower held out and a smile,see nenge mishō parable
Flower Pacification Festival (Chinkasai), 15
flowers, verses on, 143–44, 284n1, 293n1
form (usō), 164
formless, the (musō), 164, 166
four deva kings of waka, 322n10, 346, 358
friendship, 60–61, 162–63
Fu (Mode of Precise Delineation), 109, 111, 112, 262n4
(Allegorical Mode), 109, 111, 112–13, 261n3
Fūgashū, 322n11, 349
Fuji, Mount, 280n56
Fujiwara Akisuke, 230n31
Fujiwara Ariie, 86, 167, 252n1, 312n1
Fujiwara Hideyoshi, see Hideyoshi
Fujiwara Ietaka, see Ietaka
Fujiwara Kintō, 68, 249n5, 249n6, 261n1, 265n13
Fujiwara Masatsune, see Masatsune
Fujiwara Nagayoshi, see Nagayoshi (Nagatō)
Fujiwara Nobuzane, 279n52
Fujiwara Suetsune, 231n35
Fujiwara Sukemune, see Sukemune
Fujiwara Tadazane, 249n3
Fujiwara Takanobu, see Takanobu
Fujiwara Tameie, see Tameie
Fujiwara Tamesuke, 357
Fujiwara Tameuji, 17, 357
Fujiwara Teika, see Teika
Fujiwara Tomochika, see Tomochika
Fujiwara Yoshitsune, see Yoshitsune (Go-Kyōgoku Regent)
Fukui Kyūzō, 212n1, 217n7
fumyōtei (mode of ambiguity), 145–47, 196, 288n2
fushimono renga, 211n5, 216n5
Fu Yue, 141, 283n7
Ga (Direct Mode), 110, 111, 112, 265n10
gambling, 188, 189
Gan Kai (Yan Hui), 175, 316n3
ganying, 194–95
Gembin, Bishop, 149, 295n6
Genji monogatari, 36, 108, 228n29, 234n2, 259n15, 260n19, 276n32, 289n2, 352, 358
Genkyū shiika awase, 225n24
Genshin (Eshin), 246n5, 321n11
Giba, 192, 325n8
Gokomatsu, Retired Emperor, 114
Go-Kyōgoku Regent, the, see Yoshitsune (Go-Kyōgoku Regent)
Go-Saga, Retired Emperor: decline of waka during era of, 19, 212n1;
as represented in Tsukubashū, 17;
and Shunzei's Daughter, 354;
and Tameie, 357
Goshūishū, 237n5, 359
Go-Toba, Retired Emperor: biographical notes, 339–40;
characteristics of work of early masters, 23, 214n1;
and classification into ten styles, 315n1;
in Dōjo-hōshinnō-ke gojisshu waka, 250n2;
double meaning attributed to poetry of, 45, 239n2;
and Hideyoshi, 341;
and Hideyoshi's poem on Deep Mountain Love, 232n36;
and Jakuren, 343;
and Jichin, 343;
and Jisanka, 222n17;
and Lady Kunaikyō, 345;
longer renga sequences in renga sessions of, 211n5;
and Masatsune, 346;
and Minasedono koi jūgoshu uta awase, 227n27;
number of waka masters during age of, 19, 212n1;
and Rōnyaku gojisshu uta awase, 225n23;
and Santai waka, 231n34;
self-esteemed poems of the old masters, 31, 222n18, 223n19;
on Imperial Princess Shikishi, 352;
Shōji ninen in'onhyakushu, 223n20;
and Shunzei, 353–54;
and Shunzei's Daughter, 354;
and Teika, 14, 357;
on ultimate style issue, 167;
visits Chōmei's hut, 175;
Wakadokoro established by, 243n2;
and Yoshitsune, 360
Go-Toba-in onkuden, 241n2, 266n1, 340
Gozan Zen temples, 242n2
grace,see en (grace)
grade points, 116–17
Guhishō, 288n2, 291n8, 310n1, 311n4, 312n1
Gukanshō (Jichin), 343
Gukenshō, 292n8
Gusai (Kyūsei): Allegorical Mode poem, 109, 261n2;
biographical notes, 340–41;
characteristics of work of early masters, 25;
and compilation of Tsukubashū, 3, 14, 16, 212n8;
double meaning in poetry of, 46, 240n8;
as first major renga poet, 14, 212n8;
(p.405) hen-jo-dai-kyoku-ryū, 102, 257n1;
hokku by, 43, 238n10;
and jige renga, 14;
Metaphorical Mode poem, 110, 263n5;
and Monshin, 264n9;
Nijō Yoshimoto as student of, 12, 14, 340, 347;
as “old master,” 237n2;
poem with preface, 106;
Precise Delineation Mode poem, 109;
in renga contests, 266n2;
and renga jittoku, 202;
Renga shinshiki, 3, 15;
as represented in Tsukubashū, 17;
in Shinkei's history of renga, 12, 121;
Shūa as disciple of, 353;
and Sogen, 268n7;
Symbolic Mode poem, 110, 263n7;
among “two or three wise devotees,” 211n6;
verses in Arresting Style, 127, 128, 277n40;
verses in Classic Style, 126, 127, 277n39;
verses in Intricate Style, 125, 126, 276n33, 276n35;
verses in Stark Style, 131, 132, 281n61, 281n65;
verses in Style of Ineffable Depth, 29–30, 122, 123, 221n11, 221n12, 271n17, 272n19, 272n20;
verses in Style of Meditation, 124, 125, 274n27, 275n28, 275n29, 275n30;
verses in Style of Singular Conception, 129, 130, 279n54;
Zen'a as teacher of, 360
Gyōjo, 253n4
haikai, 4, 87, 94, 95, 116, 191
hampi no ku, 103, 138, 258n7, 260n16
Hana no magaki (Sōzei), 356
hana no moto renga (renga under the flowers), 15, 17, 179, 217n8, 360
Hanazono, Emperor, 211n6
Haseo, Ki no, 163, 309n7
Hatakeyama Masanaga, 6
Hatsuse, 229n30
head poems, 42–43, 44, 237n1
Hekiganroku, 283n6
Henjaku, 192, 325n8
Henjō, Bishop, 224n20
hen-jo-dai (Context), 102, 103, 107–8
hen-jo-dai-kyoku-ryū, 102–8, 137–39, 153
heredity, 180–81
heron-crow metaphor, 21, 213n1
Hi (Metaphorical Mode), 110, 111, 112, 113, 263n6
Hideyoshi: biographical notes, 341;
in flowering of waka under Go-Toba, 212n1;
self-esteemed poems of the old masters, 34, 232n36
hiesabi (chill and still), 140, 142
hie yase (chill and meager), 119, 262n4
Higuchi Yoshimaro, 217n1
Hinayana (Lesser Vehicle), 165, 244n3, 250n8
Hitomaro: poems in style of yūgen (ineffable depth), 28, 27, 218n3;
poem with preface, 259n15;
and state of renga in Shinkei's time, 120
Hitorigoto (Shinkei), 251n2, 270n12
hiyu (allegory), 138, 139
hōben (skillful means), 186–87, 195, 204, 335n5
Hokke gengi, 268n5, 318n8
Hokke mongu, 268n5, 285n5, 306n3
hokku, 42–44;
fundamental form of, 44;
as remaining in people's memories, 237n3
honkadori (allusive variation), 87–88
hōraku renga, 178–79, 201
Horikawa-in ontoki hyakushu waka, 229n31
Hosokawa Katsumoto, 238n7
Hossō sects, 181, 287n7, 330n7
Huan of Qi, Duke, 192, 325n9
hundred-verse sequence, see hyakuin
hyakku (cutting phrase), 138
Hyakuban renga awase, 266n2
hyakuin: becomes standard length, 236n1;
becoming aware of as a whole, 81;
lianju associated with, 14;
opening poems of, 42;
rules for, 151;
Tsukubashū and, 16–17;
verses on moon, flowers, and snow in, 284n1
Ichijō Kanera, 278n44, 355
Ietaka (Karyū): biographical notes, 341–42;
characteristics of work of early masters, 24;
decisive influence of, 14;
in Dōjo-hōshinnōke gojisshu waka, 250n2;
double meaning in poetry of, 46, 240n6, 240n7;
as fifty before he achieved fame, 118, 266n1;
in flowering of waka under Go-Toba, 212n1;
as “maker of poems” to Teika, 141;
at poetry sessions of Retired Emperor Go-Toba, 211n5;
as represented in Tsukubashū, 17;
and Santai waka, 231n34;
self-esteemed poems of the old masters, 33, 229n31, 230n32;
on ultimate style, 167, 312n1;
verse in Style of Preserving the Old, 130, 280n59
Ijichi Tetsuo, 8, 212n1, 214n1, 317n6, 335n5
illustrative poems (tatoe uta), 264n8
Imagawa Ryōshun,see Ryōshun (Sadayo)
Ima kagami, 13
impartiality: of divine response, 178–79;
Sasamegoto on, 7
imperial anthologies, 237n1
incomprehensibility (mushin shojaku), 93–95
ineffable depth, see yūgen (ineffable depth)
ineffable remoteness,see yōon; (yūen ineffable remoteness)
ingenuity, 94–95
inheritance, 180–81
innen, 61, 104, 133, 138, 139, 194
Inryōken, 237n3
Intricate Style: described, 235n5;
in learning renga, 36, 38;
Teika on learning, 235n5;
verses by old poets in, 125–26
Introduction-Proper Teaching-Propagation pattern, 104, 138, 282n6
Inu Tsukubashū, 94
irihoga (excessive straining after effect), 89–90
Ise, Lady: biographical notes, 342;
poems in style of yūgen (ineffable depth), 28, 218n5;
Tomochika poem compared with, 232n35
Ise monogatari, 36, 224n21, 227n27, 271n18
Isonokami Nammatsu, 213n4
(p.406) Iwahashi, 63
iwai uta, 265n12
iwanu tokoro (that which remains unsaid), 140, 142, 145
Izumi Shikibu, 274n27
Jakuren: abandons secular career for poetry, 182, 183, 321n2, 342;
biographical notes, 342–43;
and Roppyakuban uta awase, 229n30;
and Santai waka, 231n34;
self-esteemed poems of the old masters, 34, 231n34;
on ultimate style, 167, 312n1
Jia Dao, 48, 241n5
Jiandi song (Bai Juyi), 65, 248n5
Jichin (Jien): biographical notes, 343;
poem of unadorned configuration and profoundly compelling heart-mind, 150;
poems in Distant Link mode, 97, 101;
poems in style of yūgen (ineffable depth), 29, 220n8;
poems with pause words, 105;
as “poet seer” to Teika, 141;
and Santai waka, 231n34;
self-esteemed poems of the old masters, 32, 225n23, 225n24;
and Yoshitsune, 360
Jien,see Jichin (Jien)
jige renga, 14, 355
Jikkinshō, 245n1, 320n5, 320n8, 321n9
Jisanka, 222n17
Jisankachū (Sōgi), 243n3
jittei, see Ten Styles
jittoku (ten virtues), 200–203
Jō'a, 110, 265n11
Jōben, 322n10, 358
Jōdo Shinshū sect, 15, 209n3, 246n5
Jōgen, 48, 50, 241n4, 245n2
jo-ha-kyū (Prelude-Break-Climax), 138, 139, 282n5
jo no kotoba (prefatory words), 103, 104–6, 113, 258n6
Jōshū, 327n2
Jōzō, 48, 50, 241n4, 245n2
Jōzō, Priest, 149, 296n8
Jūbutsu: biographical notes, 343–44;
verse in Lofty Style, 124, 274n25;
verse in Stark Style, 131, 281n62;
verse in Style of Preserving the Old, 131, 281n60;
verse in Style of Singular Conception, 129, 279n53
jueju (zekku), 104, 258n8
Junkaku: biographical notes, 344;
characteristics of work of early masters, 24;
hen-jo-daikyoku-ryū, 103, 257n3;
and jige renga, 14;
as “old master,” 237n2;
renga structure perfected in work of, 3;
in Shinkei's history of renga, 121;
among “two or three wise devotees,” 211n6;
verse in Categorical Style, 129, 278n50;
verse in Lofty Style, 123, 272n21;
verse in Style of Ineffable Depth, 122, 271n16;
verse in Style of Preserving the Old, 130, 280n56;
Zen'a as teacher of, 344, 360
Juntoku, Retired Emperor: double meaning in poetry of, 45, 239n3. See also Yakumo mishō (Retired Emperor Juntoku)
Kaifūsō, 14
kaishi, 285n1
Kai Shisui, 175, 317n5
kakekotoba (pivot word), 113, 258n6, 259n15
Kakinomoto Hitomaro, see Hitomaro
Kamakura period: best known renga masters of, 211n6;
broadening of the Way during, 14;
grading renga during, 116;
initial stage of renga development, 210n2;
long-form renga development in, 14;
“old masters” of, 237n2;
Sasamegoto examines achievements of, 59
Kamo Shrine, 280n59
Kampyō era, 235n4
Kaneko Kinjirō, 212n1, 214n1, 242n8
kanjin, 201
Kanjin ryakuyōshū, 246n5
kan'ō, 194–95
Kanzan, Chaplain, 48, 242n6
karma, 176, 181, 193, 318n11, 321n11
Karyū,see Ietaka (Karyū)
kasen (poet immortals), 173, 175–77
Kāśyapa, 172, 185, 186, 187, 315n6, 324n6
katauta mondō, 12, 13
Katsuragiyama, 24, 216n6
kazoe uta, 262n4
Kegon school, 330n7
keikandō, 177
Keiun,see Kyōun (Keiun)
Kenji shinshiki, 15, 360
Kenkō: on beauty and temporality, 52;
among four deva kings of waka, 322n10;
on ineffable remoteness, 145;
on living until forty, 183, 322n10;
on the wise and virtuous forced into obscurity, 247n2
Kenshō, 229n30, 265n13, 312n1
Kenzai: biographical notes, 344–45;
fame of, 65;
and Jisanka, 222n17;
Kitano tenjin renga jittoku, 201–2;
on laboring over renga, 69;
on Michiteru, 226n25;
on miraiki, 92;
Renga entokushō, 217n8;
on renga of Gusai, 217n8;
renga shichiken as inspiration for, 18;
Shinkeisōzu teikin, 69;
Shinkokin nukigakishō, 243n3;
and Ton'a, 251n2
Kidō Saizō, 8, 65, 67, 193, 341, 244n2, 250n2, 254n2, 263n7, 274n24, 274n27, 282n1, 287n6, 288n7, 291n8, 292n9, 307n6, 311n5, 322n13, 324n6, 331n9
Kindai shūka (Teika), 37
Kintada: biographical notes, 345;
“Seeing the Falling Flowers at the Imperial Apartments,” 156, 304n1
Kintō, Lord, 68, 249n5, 249n6, 261n1, 265n13
Kirihioke, 242n7, 250n1, 302n6, 313n11
Kitamura Kigin, 226n25
Kitano tenjin renga jittoku, 201–2
Ki Tokifumi, 234n3
(p.407) Kiyohara Motosuke, 234n3
koans, 94, 283n6
Kodai no Kimi: biographical notes, 345;
head poem of, 42, 237n5
Kojiki, 13, 17, 210n2, 262n3
Kōken, Abbott, 329n5
Kokin denju, 112, 154, 302n6
Kokinshū: on beautiful and empty rhetoric, 38;
Initiation Rite to the, 112, 154, 302n6;
as model for Tsukubashū, 16;
mono no na in, 216n5;
on origins of waka, 210n3;
on rikugi, 110–11, 112, 261n1, 262n4, 263n6, 264n8, 265n10, 265n12, 265n13;
on Six Types (rikugi), 137;
on studying flower and seed, 37, 236n8;
in study of renga, 36;
Tsurayuki poem on Spring, 231n34
Kokon rendanshū (Sōzei), 355
kokoro (mind-heart): and classification into ten styles, 315n1;
and Close and Distant Link distinction, 98;
and criticism, 73;
decline of, 21, 212n1;
and deviation from orthodoxy, 79–80;
as emerging in old age, 118;
as holding maeku and tsukeku in tension, 195;
kokoro no en, 27, 35, 39, 141, 169, 289n2;
lofty and ineffably remote mind, 63;
meditation compared with, 5;
poetic process as contemplation, 53, 54;
search for ultimate source of, 66, 80;
Shinkei's emphasis on, 4, 18, 37, 39, 100;
and Style of Ineffable Depth, 27, 35, 169, 220n9;
“the upper verse leaves something unsaid, while the lower verse expresses itself incompletely,” 108;
in verses of early masters, 23, 25;
vulgarity in, 83, 84
Kombeiron, 181, 321n11
Koreakira, Prince, 231n35
Kōshikego, 306n4
kotoba: and Close and Distant Link distinction, 98;
decline of, 212n1;
Shinkei's reaction to renga viewed solely as, 4, 37;
in verses of early masters, 23, 25
Kōun, 219n7
(emptiness): and deep feeling, 163;
and Distant Link, 164, 166;
and multiplicity of forms, 44;
and originality, 174;
in poetic way of seeing, 186;
poet-seers meditate on, 142;
sublimity and meditation on, 147;
and vanity of poetry, 132–33
Kubota Jun, 219n7, 223n18, 234n38, 259n15
Kubota Utsubo, 218n3, 218n5
Kūkai, 330n7
Kumano Sanzan, 222n18
Kunaikyō, Lady: biographical notes, 345–46;
brother Tomochika, 358;
poetry as self-consuming passion for, 68, 249n4;
self-esteemed poems of the old masters, 33, 228n28
Kung Yu, 320n4
Kunshishū, 283n5, 307n6, 309n2, 309n3, 309n4, 309n5, 318n12, 322n6, 325n7
kusari renga (chain renga), 13–14, 236n1
Kyō (Symbolic Mode), 110, 111, 112, 113, 264n8
Kyōdai, Priest, 149, 295n7
kyoku (Statement), 102, 106, 107–8
Kyoto, renga spreads to commoners at, 14–15
Kyōun (Keiun): biographical notes, 346;
among four deva kings of waka, 322n10, 346;
poems in Shinsenzaishū, 183, 322n11;
and Ton'a, 358
Kyoyū, 175, 316n2
Kyūsei, see Gusai (Kyūsei)
Lamotte, Étienne, 310n2
language, transmission of mind as beyond, 185–87. See also kotoba
Laozi, 323n2, 326n15, 334n3
Layman Pang, 141, 283n6
learning (knowledge), 36, 153–54, 234n1
lewd humor, 94
Li (Bo Yu), 182, 322n5
lianju, 14
Li Bai, 258n8
license (yurusu koto), 148, 151, 293n2
linked poetry: appropriation in, 74;
as demonstration of oneness, 174;
Nijō Yoshimoto on origins of, 210n2;
as verbal exercise, 4. See also renga
linking, see tsukeai (linking)
linking verse, see tsukeku (linking verse)
Liu Xiang, 245n2
Liu Yiqing, 324n1
loftiness (take), 41
Lofty Style, 36, 38, 123–24, 235n5
Lopez, Donald S., Jr., 310n2
Lotus Sutra: on the Dharma as ineffable and difficult to conceive, 326n11;
on emptiness, 164, 311n3;
and five flavors metaphor, 250n8;
and high peak of eagles, 273n22;
on illusory nature of the world, 51;
on insatiable desire as cause of suffering, 336n6;
and Introduction-Proper Teaching-Propagation pattern, 282n6;
on Jōzō and Jōgen, 241n4;
parable of poor son, 267n4;
on provisional names and words in teaching, 327n16;
reading without taking scroll into one's hands, 318n8;
Tendai texts as commentaries on, 268n5;
on Three Vehicles and One Vehicle, 244n3;
on ultimate principle, 285n5
maeku (preceding verse): decline in linking to the, 21–22;
in Distant Link mode, 99, 100;
grasping and recreating the, 74;
hen-jo-daikyoku-ryū, 102–8;
link between tsukeku and, 156–58;
as riddle, 4;
as stimulus, 195
Mahayana (Great Vehicle), 57, 165, 198, 244n3, 246n6, 250n8, 335n5
Maigetsushō (Teika): on learning poetic styles, 38, 235n5;
on poetic excellence, 236n7;
Tameie wills to Tamesuke, 357;
and Teika jittei, 217n1
Makashikan: on Buddhist prohibitions and (p.408) Confucian virtues, 298n11;
on correct training in shikan, 268n5;
and differences between karmas, 321n11;
on enlightenment as not depending on others, 333n2;
on impartial mind, 294n4;
on preaching and silence, 205;
as primary text for Tendai meditation, 186;
on seeing from different standpoints and levels, 199;
and stimulus and response dynamics, 194, 195;
on unconditioned compassion, 331n9
makura kotoba (pillow words), 138, 282n7
Mañjuśrī, 68, 249n2
Man'yōshū: first example of renga in, 13, 211n4;
knotted branches motif in, 215n4;
on mushin shojaku, 93–94, 255n1;
Okura's social protest poetry in, 242n2;
in study of renga, 36, 37–38, 39, 234n1;
Teika on, 36;
transcription in kana, 234n3;
Tsurayuki on two poems from, 168–69;
Yakumo mishō cites, 13, 234n1
marks, 116–17
martial arts, 188, 189
Masatsune: biographical notes, 346;
in Dōjohōshinnō-ke gojisshu waka, 250n2;
plagiarism of Ariie by, 86, 252n1;
self-esteemed poems of the old masters, 34, 230n33;
on ultimate style, 167, 312n1
Mashimo Mitshiro, 121, 268n8
master-disciple relationship, 75–76
Matsumuro Chūzan, 181, 321n10
meditation: kokoro compared with, 5;
poetic process compared with, 72;
poetry and Zen, 153–55, 186, 300n3;
renga and group, 70. See also Style of Meditation
Meigetsuki (Teika), 14, 137, 282n1
Mencius, 60, 245n2
Meng Haoran, 48, 241n5
Metamorphosis Body, 197, 247n4, 327n1
Metaphorical Mode (Hi), 110, 111, 112, 113, 263n6
michi, see Way (michi)
Michiteru, 32, 226n25
Michitomo, Lord, 167, 312n1, 354
Middle Way, 144, 165, 196, 198, 199, 331n9
Mikkyō (Esoteric) Buddhism, 154–55, 301n4, 303n, 321n11, 330n7
Mikohidari school, 229n30
Minamoto Kintada, see Kintada
Minamoto Masanobu, 275n29
Minamoto Michiteru, 32, 226n25
Minamoto Michitomo, 167, 312n1, 354
Minamoto Saneakira, 283n2
Minamoto Shitagō, 234n3
Minamoto Tamenori, 313n5
Minamoto Tokishige,see Sōzei (Minamoto Tokishige)
Minamoto Toshiyori, 249n3, 249n6, 304n1
Minamoto Tsunenobu, see Tsunenobu
Minamoto Yorizane, 171, 172, 315n4
Minase-dono koi jūgoshu uta awase, 32, 227n27
mind-ground,see shinji (mind-ground)
mind-heart,see kokoro (mind-heart)
Mind Only (Yuishiki) school, 301n4, 310n2, 330n7
Miner, Earl, 5
Minister Kibi, 180, 320n8
miraiki, 91–92
Miraiki (attributed to Teika), 91–92
Mitsudenshō (Sōzei), 263n7
Mitsune, 238n10
Mōgyū, 245n1, 246n4, 316n3, 317n4
Mokuren, 178, 319n1
Monju, 175, 316n1
mono no na, 216n5
Monshin, 110, 264n9
moon, verses on, 143–44, 284n1, 293n1
Motoyoshi, Prince, 28, 218n4
mujishō, 61, 163
mujō (mutability; temporality): awareness of as artistic necessity, 61;
and multiplicity of forms, 44;
and originality, 174;
in poetic way of seeing, 186;
poetry's roots in, 51–52, 67;
Sasamegoto on, 7
Mujū Ichien: encyclopedic knowledge of, 286n5, 328n4;
Shinkei cites, 7;
Mumonkan, 199, 327n2
Mumyōshō (Chōmei): on Chūin's preaching, 241n4;
on Dōin, 314n2;
on Kunaikyō, 249n4;
on mediocre poets who imitate the great, 94;
on Minamoto Yorizane, 315n4;
on Shun'e on poem by Chaplain Kanzan, 242n6;
on Tōren, 314n3
Murasaki Shikibu, 234n2
Muromachi period: differences between sects in, 316n4;
Kokin denju, 112;
Nijō Yoshimoto's influence on poetry of, 348;
renga shichiken (seven sages of renga), 4, 18, 253n4;
renga suffers marked decline in, 3–4;
Shinkei formulates principles for serious art of renga in, 1;
Shōtetsu as major waka poet of, 20;
state of renga in, 120–33;
twin Ways of letters and arms in, 189
mushin: at poetry sessions of Retired Emperor Go-Toba, 211n5;
refined versus vulgar renga, 94, 95
mushin shojaku (incomprehensibility), 93–95
musō (the formless), 164, 166
musubu fumi, 215n4
Mu Wang, 190, 324n1
Nagarjuna, 165, 246n6, 310n2, 330n7
Nagayoshi (Nagatō): biographical notes, 346–47;
Nōin studies with, 348;
poetry as selfconsuming passion of, 68, 249n6
Nakamura Hajime, 287n7, 328n2
Nakatsukasa, Lady, 342
Nakazane, 150
(p.409) Nambokuchō period: broadening of the Way during, 14;
conflict between renga and waka poets in, 41;
grading renga during, 116;
Gusai as most famous renga master of, 212n8;
Nijō Yoshimoto and style of, 347–48;
Nijō Yoshimoto as greatest patron of renga in, 212n7;
“old masters” of, 211n6, 237n2;
Sasamegoto examines achievements of, 59;
Tsukubashū compiled in, 3, 210n2
Narihira, 279n51
nasake fukashi (deep feeling), 163
nazurae uta, 263n6
nenge mishō parable, 185–86, 324n6
Nihongi, 13, 17, 262n3
Nihon shoki, 210n2, 210n3, 216n4
Nijō school of poetry: on Miraiki, 92;
official favor of, 20;
Reizei school of poetry as rival of, 213n2, 357;
Shinsenzaishū, 322n11;
in Shokugosenshū, 212n1;
Shōtetsu's opposition to, 352;
simplicity and grace in style of, 49;
on single correct style, 56;
Ton'a in, 359
Nijō Tamesada, 322n13, 346, 349
Nijō Yoshimoto: Allegorical Mode poem of Gusai extolling, 109, 261n2;
on balance of form and content, 38;
on beginning of linked verse, 210n2;
biographical notes, 347–48;
“bone”-related terminology in treatises of, 242n8;
Bontō studies with, 338;
Chirenshō, 214n3;
on criticism, 160;
dialectic of learning and practice, 154;
duration of renga sessions of, 53;
in elevation of renga form, 212n7;
Gusai's tutorship of, 12, 14, 340, 347;
on hen-jo-daikyoku-ryū in Gusai, 257n1;
hokku by, 43, 238n8, 238n9;
on jo-ha-kyū (Prelude-Break-Climax), 282n5;
on Kyōun, 346;
on origins of renga, 13;
and Reizei Tamehide, 349;
in renga contests, 266n2;
and renga jittoku, 202;
Renga shinshiki, 3, 15, 210n2, 340;
Renrihishō, 340, 347;
Ryōa as participant in sessions of, 217n8;
on Shūa, 353;
and Ton'a, 359;
Tsukuba mondō, 210n2, 347;
Tsukubashū, 3, 4, 14, 16–17, 210n2, 212n8, 347
Ning Yue, 118, 266n2
Nirvana Sutra, 250n8, 294n3, 332n1
Nōa, 253n4
Nōin, Priest: biographical notes, 348;
buries his poems before he dies, 183, 184;
Nagayoshi as teacher of, 347;
Saigyō refers to poem of, 233n37
nondiscrimination between styles, wisdom of, 56–57
nondualism (shohō jissō): and aware, 169;
both what-is and what-is-not are not, 204, 335n4;
and hokku by Gusai, 263n7;
of language and meditation, 186–87;
paradoxical truth of, 199;
in the Perfect Teaching, 252n3;
in religious justification of poetry, 67, 132, 133;
Saichō's defense of, 287n7;
of Sasamegoto's argument, 192;
and that which remains unsaid in a poem, 142
nusa mo toriaezu, 267n1
“oak tree in the garden” koan, 197, 199, 327n2 Oborozukiyo, 234n2
obscurity: mark of temporality in, 182–84;
as provisional distinction, 181;
valorizing in poetry, 79–80;
wise persons forced into, 64
ōe Tokimune, 180, 321n9
ōe Tomotsuna, 273n23
Oi no kurigoto (Shinkei), 17, 59, 201
Oi no susami (Sōgi), 271n18, 341
Okura, 242n2
omokage: and en, 140;
and mode of ambiguity, 145;
as sign of mind depleted in meditation on emptiness, 142;
as waka aesthetic ideal, 41
Omuro senka awase, 228n29
One-Figure Style, 36, 235n5
oneness, 174
Ōnakatomi Yoshinobu, 234n3
Ono Tōfū, 81, 252n2
originality, 173–74
orthodox style, 56, 173–74
Ōuchi Hiroyo, 322n13
Panegyrical Mode (Shō), 110–11, 112, 265n12
Pan Yue, 68, 250n7
parable of “poor son,” 120, 267n4
pause words (yasumetaru kotoba), 103, 105, 138, 139, 258n7, 260n16
pedagogy, 58–59, 192–95
perceptivity, 73–74, 75, 100
Perfect Teaching (engyō), 81, 252n3
pillow words (makura kotoba), 138, 282n7
Pipa xing (Bai Juyi), 145, 147, 289n4
pivot word (kakekotoba), 113, 258n6, 259n15
plagiarism (dōrui), 86–88
plurality of styles, 173–74
poet immortals (kasen), 173, 175–77
poetry: contests, 114–15;
deviation from orthodoxy, 79–80;
difficulty of achieving excellence in, 185–87;
in double articulation of Shinkei's thought, 198;
double meaning in, 45–47;
en in poetic process, 4–5, 140–42;
as existential discipline, 66–67;
fame as index of value of, 64–65;
formal versus informal collections, 237n1;
friendship and, 60–61;
manifold configurations of, 48–50;
master-disciple relationship, 75–76;
mutually supportive and antagonistic arts for, 188–89;
as offerings, 178–79;
poetic process as contemplation, 53–55;
popular versus lofty, 62–63;
reclusion and, 175–77;
right teaching, 58–59;
roots in temporality, 51–52, 67;
as selfconsuming passion, 68–70;
the true Buddha and the ultimate poem, 197–99;
true poetry emerges in old age, 118–19;
vanity of, 121, 132;
verse of ineffable remoteness (yōon), 145–47;
Way of Buddhism associated with Way of, 7, 67;
and Zen meditation, 153–55, 186, 300n3. (p.410) See also criticism; linked poetry; style; waka; Way of Poetry
“poor son,” parable of, 120, 267n4
practice, 77–78
preceding verse, see maeku
precepts, renga rules and Buddhist, 148–52, 297n10
Precise Delineation, Mode of (Fu), 109, 111, 112, 262n4
prefatory words (jo no kotoba), 103, 104–6, 113, 258n6
Prelude-Break-Climax (jo-ha-kyū), 138, 139, 282n5
punning, 47, 252n1
Pure Land, 153, 154, 198, 199, 247n4, 332n1
Qu Yuan, 185, 323n4
Rāhula, 317n7
Real, the (jissō): all the phenomena in their Suchness are the, 204, 335n5;
criticism as way to understanding, 161;
poetic imagery as device to reveal, 5;
poetry and Zen meditation, 153, 303n.
reclusion, 71–72, 175–77
Reizei school of poetry: Nijō school of poetry as rival of, 213n2, 357;
as out of official favor, 20;
Reizei Tamehide and, 349;
Ryōshun as great representative of, 19, 213n2, 349;
Shōtetsu in, 352;
on wisdom of nondiscrimination, 56–57;
wordplay and unusual diction in, 92
Reizei Tamehide: biographical notes, 348–49;
Bontō studies with, 338;
Gusai studies with, 340;
and Kyōun, 346;
on pedagogic method, 192–93;
Ryōshun as disciple of, 19, 213n2, 349
Reizei Tametada, 213n3, 352
Ren Cha, 159, 307n7
renga: appropriation in, 74;
as artificial speech, 4;
authorship in, 88;
broadening of the Way, 14;
Buddhist metaphors for poetics of, 61;
Buddhist precepts and rules of, 148–52;
character of work of early masters, 23–26;
Close and Distant Links, 96–101;
as collective art, 61, 68, 70, 88, 150, 203;
contests, 114–15, 266n2, 3;
decline in Muromachi period, 3–4, 17–18, 21–22, 120;
difficulty of composition of, 243n1;
difficulty of comprehending superior, 81–82;
duration of session of, 53, 243n1;
excessive straining after effect, 89–90;
formal and structural requirements of, 2–3;
haikai replaces as principal poetic medium, 94;
hana no moto renga, 15, 17, 179, 217n8, 360;
handbooks, 2, 41;
hōraku renga, 178–79, 201;
kaishi, 285n1;
learning and study of, 36–39;
marks and grade points in, 116–17;
as mental liberation through poetic practice, 203;
miraiki, 91–92;
mushin shojaku, 93–95;
plagiarism, 86–88;
popular sessions, 191;
practice, 77–78;
refined versus vulgar, 94;
renga jittoku, 201–3;
rikugi, 112;
rules and precepts of, 148, 293n1;
Sasamegoto's history of, 12–15, 120–21;
as serious practice, 160–61;
Shinkei formulates principles for serious art of, 1;
as social activity, 52, 242n1;
state at time of Sasamegoto, 120–33, 190–96;
as symbolic, 5;
ten virtues of, 200–203;
“the upper verse leaves something unsaid, while the lower verse expresses itself incompletely,” 108;
vulgar (bonzoku) verse, 83–85;
waka distinguished from, 40, 243n1;
waka's role in training, 40–41;
as a Way, 1–2;
as word game, 4, 41, 69;
yūgen (ineffable depth), 27–35. See also hyakuin; tsukeai (linking)
Renga entokushō, 217n8
Renga hidenshō, 201, 221n11
Renga jūyō (Yoshimoto), 257n1
rengashi, 3, 15
renga shichiken (seven sages of renga), 4, 18, 253n4
Renga shinshiki, 3, 15, 210n2, 212n8, 340, 347
Renrihishō (Nijō Yoshimoto), 340, 347
Response Body, 195, 196, 287n7
Reward Body, 62, 144, 165, 195, 196, 247n4, 287n7
rikugi (six principles; six types), 109–13;
Kokinshū on, 137, 261n1;
and poetry and Zen meditation, 153–54, 155;
as Six Roots that give rise to a manifold of poetry, 138
Rokkasen (Six Poetic Geniuses), 235n4
Rokkashō, 219n7
Rokujō school, 229n30
Rongo (Analects) (Confucius): on Confucius as forty before ceasing to be deluded, 267n3;
on the courageous as not necessarily humane, 318n14;
on daily self-examination, 251n1;
on fame, 247n1, 247n3;
on gentlemen inquiring of those beneath them, 180, 320n4;
on heredity, 180, 320n3;
image of Confucius in, 247n2;
on nondiscrimination, 244n1;
on observing the Way and dying content, 267n5;
on old and new knowledge, 245n1;
on remaining unmoved in face of abuse, 308n14;
Shinkei cites, 7;
on who reaches old age and does not die, 322n8;
on Yan Hui, 316n3, 322n5, 323n1;
on Yao and Shun having their worries, 323n5;
on young shoots that spring forth but do not flower, 322n4
Rōnyaku gojisshu uta awase, 225n23
Roppyakuban uta awase, 229n30, 234n2
rough verse (araki ku), 30, 221n13
Ryōa: characteristics of work of early masters, 25, 217n8;
hen-jo-dai-kyoku-ryū, 103, 257n4;
as represented in Tsukubashū., 17;
in Shinkeiūs history of renga, 121;
verse in Arresting Style, 127, 277n41;
verse in Intricate Style, 125, 276n32;
verse in Lofty Style, 123, 273n23;
verse in Style of Preserving the Old, 130, 280n58;
verses in Categorical Style, 128, 278n47, 278n48;
verses in Classic Style, 126, (p.411) 127, 276n36, 277n40;
verses in Close Link mode, 98, 101;
verses in Style of Ineffable Depth, 29, 30, 220n10, 221n15;
verses in Style of Meditation, 124, 274n27
Ryōshun (Sadayo): biographical notes, 349;
on conflict between renga and waka poets, 41;
Junkaku as teacher of, 344;
and Nijō Yoshimoto, 347;
on omitting topic, 157, 305n2;
on orthodox configuration, 173;
Reizei Tamehide as teacher of, 19, 213n2, 349;
Reizei Tametada meets, 213n3;
as representative of Reizei school, 19, 213n2, 349;
revival of waka by, 19;
Shōtetsu as disciple of, 352
Sadaie, see Teika (Sadaie)
Sadayo, see Ryōshun (Sadayo)
Sagoromo, 36
Saichō, 287n7
Saigyō: as beggar, 175, 317n6;
biographical notes, 349–51;
and Jichin, 225n23;
Kokoro naki/mi ni mo aware wa/shirarekeri poem, 274n27;
poem of unadorned configuration and profoundly compelling heart-mind, 149, 299n13;
on poetry and Zen meditation, 153, 300n3;
as “poet seer” to Teika, 141;
religious justification of poetry of, 67;
self-esteemed poems of the old masters, 34–35, 232n37, 233n38;
Ton'a influenced by, 358;
verse of Ryōa alludes to, 277n41
Saikaku, 191
Sakanoue Mochiki, 234n3
Sangoki: on Close and Distant Links, 310n1;
on hen-jo-dai-kyoku-ryū, 106–7;
on ineffable depth, 291n8;
on omitting topic, 157;
on poems as symbolic figurations of cosmic body, 154–55, 300n3;
on Stark Style, 235n6
sanshin, 144, 247n4, 287n7, 327n18
Santai waka, 231n34, 256n8
Saohime, 24, 216n5
Śāriputra, 171, 172
Sasaki Dōyo, 17, 347, 353
Sasamegoto (Shinkei): citations in, 235n5;
colophon of, 6;
composition of, 6;
comprehensiveness of, 2;
earlier poetry quoted in, 4;
Epilogue, 204–5;
manuscriptdraft (common-edition) line of, 8;
mind of poet placed at center of poetic nexus by, 5;
motivation of, 112;
Part One, 6, 9–133;
Part Two, 7, 135–205;
on poetry as way to attain satori, 1;
Prologue, 11;
on renga as symbolic, 5;
as renga-like, 7;
revised-edition line of, 8;
“the true Way of Poetry is akin to the Void,” 7, 204;
title's source, 209n2;
unconditioned compassion as central concern of, 199;
unorthodox historical construction of, 20;
verse pairs illustrating Ten Styles, 7–8
satori: and discipline in mind-ground, 172;
and Distant Link, 166;
Sasamegoto on poetry as way to attain, 1
scholarship, 188, 189
Seibyō hōraku senku (Kenzai), 344
Seigan, Priest,see Shōtetsu
Seijun, 216n7
Seison, Priest, 260n17
self-esteemed poems, 31–35. See also Jisanka
semantic confusion, 91–92
Seng Can, 333n1
Senjun, 253n4
senku, 285n2
Setchō, 283n6
seven sages of renga (renga shichiken), 4, 18, 253n4
Shakumakaenron, 330n7
Sharihotsu, 178
Shasekishū (Collection of Sand and Pebbles) (Mujū): on the awakened for all time, 325n5;
on believing phenomena exist outside the mind, 286n6;
on the Buddha casting off his princely rank, 315n5;
on conditioned discrimination, 312n7;
on Confucian virtues and Buddhist prohibitions, 298n11;
on degeneration of Buddha's teaching, 325n4;
on deities seen as manifestations of Dharma Body, 329n5;
on duck's and crane's legs, 326n12;
on errant priests who make offerings, 319n4;
on examining the cause to reach the effect, 311n5;
on Hossō school, 307n10;
“if you are skilled at overturning you are the same as a Tathagata,” 308n12;
on images and writing, 312n6;
on karma, 318n11, 321n11;
on King Wen of Wei, 307n7;
on knowledge and practice, 325n3;
on language and meditation, 186–87;
on learning, morality, and wisdom, 332n1;
on license, 293n2;
on listening to Buddhist teachings, 306n2;
on passing on the wisdom of enlightenment, 334n2;
on precepts, 294n5;
on religious offerings, 161;
on the sage having no mind, 326n15;
on salvation as collaboration, 193–94;
on self-realization, 307n11;
on sharp mind, 294n4;
Shinkei cites, 7;
on Shōtoku and Bodhidharma, 309n8;
on teachings as provisional, 286n5;
on unconditioned wisdom, 331n9;
on violations as occasions for doing good works, 179, 319n1;
on Way of Poetry as True Word, 302n7;
“when the Great Way is abandoned,” 334n3
Shibakusa-nai renga awase, 115
Shichinin tsukeku-han, 115
shiika awase, 225n24
Shi Jing, 111, 261n1, 261n3, 265n10
shikan, see meditation
Shikishi (Shokushi), Imperial Princess: biographical notes, 351–52;
self-esteemed poems of the old masters, 31, 223n20, 224n21
Shimazu Tadao, 211n4
shina: as waka aesthetic ideal, 41;
and yūgen (ineffable depth), 30
Shinchokusenshū (Teika), 342, 354, 357
(p.412) Shingon school, 330n7
shinji (mind-ground): discipline in, 171–72, 316n2;
poetic process as contemplation, 54–55;
poetic training as cultivation of, 161;
transmission of as beyond language, 185–87;
as ultimate aim of poetry, 5
Shinjinmei, 333n1
Shinkei: Bajōshū, 201;
as beyond the limelight, 65;
composition of Sasamegoto, 6;
double articulation of thought of, 198;
exile of, 242n2;
Hitorigoto, 251n2, 270n12;
Oi no kurigoto, 17, 59, 201;
renga contests judged by, 266n2;
as renga poet, 1;
among renga shichiken, 4, 253n4;
Shibakusa-nai renga awase, 115;
Symbolic Mode in, 113;
as Tendai cleric, 1. See also Sasamegoto (Shinkei)
Shinkei-sōzu teikin (Kenzai), 69
Shinkokin nukigakishō (Kenzai), 243n3
Shinkokinshū: as apogee of waka history, 19–20;
and classification into ten styles, 315n1;
descriptive symbolism of, 5;
and Distant Link (soku) mode, 100–101;
Go-Toba as sponsor of, 339;
Ietaka as editor of, 341–42;
Jakuren as compiler of, 343;
and Jisanka, 222n17;
Masatsune on editorial board of, 346;
post-Shinkokinshū waka, 19–20;
Saigyō's poems in, 351;
Sasamegoto alludes to, 210n1;
Sasamegoto conceived in context of tradition of, 2, 4;
Sasamegoto examines achievements of, 59;
Imperial Princess Shikishi's poems in, 352;
Shinkei's aesthetic contrasted with, 39;
Shunzei's Daughter's poems in, 354;
Symbolic Mode, 113;
Teika as compiler of, 357;
Yoshitsune's poems in, 360
Shinkokinwakashū kikigaki (Tsuneyori), 243n3
shinku (Close Link), 96–101, 164–66;
Bontō on, 214n3;
characteristics of, 101;
defined, 98, 165;
as easily comprehensible, 62, 246n1;
impartiality regarding Close Link and, 7;
Shinkei valorizes Distant Link over, 166;
verses in Close Link mode, 98
Shinsatsu ōrai (Sogen), 268n7
Shinsenzaishū, 183, 322n11, 346, 349
Shinshō: biographical notes, 352;
characteristics of work of early masters, 24;
hen-jo-daikyoku-ryū, 103;
and jige renga, 14;
as “old master,” 237n2;
poem with preface, 106, 260n17;
renga structure perfected in work of, 3;
as represented in Tsukubashū, 17;
in Shinkei's history of renga, 121;
among “two or three wise devotees,” 211n6;
verse in Arresting Style, 127, 277n43;
verse in Categorical Style, 128, 278n49;
verse in Classic Style, 126, 276n37;
verse in Intricate Style, 125, 275n31;
verse in Lofty Style, 123, 274n24;
verse in Stark Style, 131, 281n63;
verses in Style of Singular Conception, 129, 279n51, 279n52;
Zenʾa as teacher of, 352, 360
Shintō deities, 329n5
Shinzoku Kokinwakashū, 20
Shishuo xinyu (Liu Yiqing), 324n1
Shō (Panegyrical Mode), 110–11, 112, 265n12
Shōhaku, 115, 219n7
shohō jissō, see nondualism (shohō jissō)
Shōin, Bishop, 230n31
Shōji ninen inʾonhyakushu, 223n20
Shokugosenshū, 212n1, 354, 357
short renga (tanrenga), 13, 236n1
Shōtetsu: on avoiding composing like others, 79;
biographical notes, 352–53;
from commoner class, 213n4;
“constituted exclusively of nuance” of, 50;
death of, 121, 132, 270n11;
in Eikyō era, 270n12;
on friends, 163;
head poem of, 43, 238n7;
and Jisankachū, 243n3;
Kenzai on obscurity in, 92;
meets Ryōshun and Reizei Tametada, 213n3;
on Miraiki, 92;
as out of official favor, 20;
on poem by Minamoto Tamenori, 313n5;
poem in Distant Link mode, 97, 101;
poem on morning glory flower, 167, 168, 313n3;
poem on Nōin's resting place, 184;
poetry as selfconsuming passion for, 69;
Reizei Tamehide as teacher of, 349;
in revival of waka, 19;
as sage to Shinkei, 59;
Shinzoku Kokinwakashū excludes, 20;
Sōzei and Chiun as students of, 121, 355;
Symbolic Mode in, 113;
on Teika's penchant for obscurity, 219n7;
on verse of ineffable remoteness (yōon), 288n1;
verse of ineffable remoteness (yōon) of, 146, 147, 196, 291n7;
on Wushan goddess and yūgen, 291n8;
on Yoshitsune's Autumn Wind Along Barrier Road poem, 54
Shōtetsu monogatari, 250n1, 251n3, 256n8, 353
Shōtoku, Prince, 162–63, 309n8
Shūa: biographical notes, 353;
characteristics of work of early masters, 25;
and decline of renga, 3, 17–18;
double meaning in poetry of, 46, 240n9;
hokku by, 43, 239n11;
poem with preface, 106;
in renga contests, 266n2;
and renga jittoku, 202, 203;
as represented in Tsukubashū, 17;
in Shinkei's history of renga, 121;
and Sogen, 268n7;
among “two or three wise devotees,” 211n6;
verse in Lofty Style, 123, 273n22;
verse in Stark Style, 131, 281n64;
verses on snow by, 143, 285n2
Shugendō sect, 216n5
Shūi gusō (Teika), 219n7, 313n2, 358
Shukaku, Cloistered Prince, 228n29
shūku (double meaning), 45–47, 92, 99
Shun, 180, 185, 319n1, 323n5
Shune, Priest, 241n2, 242n6, 359
Shunzei (Toshinari): biographical notes, 353–54;
on evocative diction, 234n2;
Go-Toba onstyle of, 340;
granddaughter, 354;
and Initiation Rites to the Kokinshū, 302n6;
and Jakuren, 342;
and Minase-dono koi jūgoshu uta awase, 227n27;
on omokage in Bai Juyi, 289n2;
on poetry and Zen meditation, 153, 300n3;
(p.413) religious justification of poetry of, 67;
and Roppyakuban uta awase, 229n30;
and Saigyō, 351;
self-esteemed poems of the old masters, 32, 226n26;
and Imperial Princess Shikishi, 351;
son Teika, 226n26, 353, 357;
onstyle of his poetry, 49;
and Takanobu, 356;
and Teika's criticism of Tameie's poetry, 71, 250n1;
on traditional practices and precedents, 75;
on Tsunenobu's work, 359;
on ultimate style, 167, 169;
and Yoshitsune, 360
Shunzei's Daughter: biographical notes, 354–55;
and Lady Kunaikyō, 345;
self-esteemed poems of the old masters, 32, 227n27
Shu Qi, 56, 244n2
Sima Xiangru, 141, 284n9
similarity, rules against, 148, 293n1
Six Constitutive Elements in Fusion (rokudai muge), 154, 302n5
six perfections, 161, 178, 319n3
Six Poetic Geniuses (Rokkasen), 235n4
Six Realms of Illusion (rokudō), 153, 155, 302n5
Six Roots (rokkon), 138, 282n4
Six Types of Action (rokuharamitsu), 154, 155, 302n5
snow, verses on, 143–44, 284n1, 293n1
Sōa, 121, 269n9
Sōchō, 94, 114, 115, 243n1
social status, 180–81
Sogen, 121, 268n7
Sōgi: fame of, 65;
and haikai, 94;
and Initiation Rites to the Kokinshū, 302n6;
and Jisanka, 222n17;
Jisankachū, 243n3;
on jittoku, 201;
Oi no susami, 271n18, 341;
in renga contests, 115;
renga shichiken as inspiration for, 18;
on verse by Tonʾa, 271n18
Sōkonshū, 184
soku (Distant Link), 96–101, 164–66;
as at core of Shinkei's poetics, 100;
defined, 98, 165;
impartiality regarding Close Link and, 7;
as lofty and ineffably remote, 246n1;
poems in Distant Link mode, 97;
Shinkei valorizes over Close Link, 166;
verses in Distant Link mode, 96
Sone Yoshitada: biographical notes, 355;
poems in style of yūgen (ineffable depth), 28, 219n6
song, 111, 261n1, 265n12
Song Yu, 291n8
Sonʾin, Cloistered Prince: and Gusai, 340;
as represented in Tsukubashū, 17;
Ryōa as participant in sessions of, 217n8
Sono no chiri (Kenzai), 344
Sonshin, 175, 317n4
Sosei, Priest, 225n22
Sōseki, 114–15
Sōseki renga awase hyakunijūban, 114–15
Sōzei (Minamoto Tokishige): biographical notes, 355–56;
Chiun verse compared with one of, 87;
and Mashimo Mitsuhiro, 268n8;
Mitsudenshō, 263n7;
on Monshin, 264n9;
poems in style of yūgen (ineffable depth), 30, 222n16;
and Renga hidenshō, 201, 221n11;
among renga shichiken, 4, 253n4, 269n10;
in Shinkei's history of renga, 121
stalwart verse (takumashiki ku), 30, 221n13
Stark Style: Sangoki on, 235n6;
verses by old poets in, 131–32. See also Demon-Quelling Style
Stevenson, Daniel, 194
stimulus and response dynamics, 194–95
style: nondiscrimination, 56–57;
orthodoxy versus pluralism, 173–74;
ultimate style, 167–70. See also Ten Styles (Modes)
Style of Ineffable Depth, 27–35;
as equivalent to Dharma Body, 198;
as fundamental configuration, 38;
as inimitable, 220n9;
as ultimate style, 167, 169, 312n1;
verses by old poets in, 122–23
Style of Meditation: described, 235n5;
as fundamental configuration, 38;
in learning renga, 36, 38;
in Teika's work, 358;
as ultimate style, 167, 169–70;
verses by old poets in, 124–25
Style of Preserving the Old, 130–31
Style of Singular Conception: described, 235n5;
verses by old poets in, 129–30
Suchness: all the phenomena in their Suchness are the Real, 204, 335n5;
poetry and Zen meditation, 153, 154
Su Dongpo (Su Shi), 241n5, 258n8
sugata (configuration): and classification into ten styles, 315n1;
and Close and Distant Link distinction, 98, 101;
moto no sugata, 38;
orthodox, 173;
Shinkei on secondary nature of, 37;
in verses of early masters, 23, 25;
vulgarity in, 83, 84;
yūgen (ineffable depth) and, 27, 35
Sugawara Michizane, 162, 163, 201, 309n7
suggestiveness (yojō), 230n33
Sukemune: biographical notes, 356;
“Composed Along the Banks of the Oi River on ‘Crimson Leaves Floating on the Water’,” 156–57
suki, 201
Sutra of the Ten Wheels, 179
sutras of complete meaning, 164, 310n2
Suzuki Hisashi, 217n7, 285n3, 285n4, 287n7, 297n10, 324n6, 328n4, 333n2
Symbolic Mode (Kyō), 110, 111, 112, 113, 264n8
tact, 85
tadagoto uta, 265n10
Taigong Wang, 180, 320n7
Taishi, 249n3
Takanobu: biographical notes, 356;
on Jakuren's fame compared with his own, 182;
official career of, 321n1
(p.414) take (loftiness), 41
takumashiki ku (stalwart verse), 30, 221n13
talent, mark of temporality in, 182–84
Tale of Genji, 36, 108, 228n29, 234n2, 259n15, 260n19, 276n32, 289n2, 352, 358
Tamehide, see Reizei Tamehide
Tameie: biographical notes, 356–57;
on circumventing the topic, 305n2;
exclusion from Cloistered Prince's fifty-poem sequence, 71, 250n2;
father Teika, 356–57;
as represented in Tsukubashū, 17;
Shunzei's Daughter on, 354;
Teika criticizes poetry of, 71, 250n1
Tamenori, 313n5
Tamesada, 322n13, 346, 349
Tamesuke, 357
Tametada, 213n3, 352
Tameuji, 17, 357
Tameyo, 322n10
Taniyama Shigeru, 217n1
tanrenga (short renga), 13, 236n1
Taohuayuan ji (Tao Qian), 217n7
Taoism, 174, 195, 316n4
Tao Qian, 217n7
Tathagata, 155, 160, 197, 308n12
tatoe uta (illustrative poems), 264n8
teaching, 58–59, 192–95
Teika (Sadaie): on balance of form and content, 38;
biographical notes, 357–58;
characteristics of work of early masters, 23, 215n3;
on Close and Distant Links, 164;
constituted exclusively of nuance of, 50;
decisive influence of, 14;
on dedicationto poetry, 171;
on Demon-Quelling Style, 36, 168, 236n6;
on Distant Link, 96, 164, 256n1;
on diversity of forms, 48;
in Dōjohōshinnō-ke gojisshu waka, 250n2;
double meaning in poetry of, 46, 239n4, 240n5;
father Shunzei, 226n26, 353, 357;
in flowering of waka under Go-Toba, 212n1;
forged manuscripts attributed to, 236n6, 300n3;
on fundamental configurations, 38;
head poem of, 43, 237n6;
Kindai shūka, 37;
Kokin denju, 112;
on learning styles, 36;
on makers of poems versus poet-seers, 141, 283n4;
method of composition of, 71, 251n3;
Miraiki attributed to, 91–92;
on mode of ambiguity, 145;
niece Shunzei's Daughter, 354;
and Omuro senka awase, 228n29;
pilgrimage to Kumano Sanzan, 223n18;
poem on dwelling in tranquility, 167, 313n2;
poems in Distant Link mode, 97, 100–101;
poems in style of yūgen (ineffable depth), 28, 219n7;
poem with pause words, 105;
poetry as beyond popular apprehension, 62;
poetry as self-consuming passion for, 69;
at poetry sessions of Retired Emperor Go-Toba, 13, 211n5;
onpre-Kampyō era, 36, 37, 235n4;
religious justification of poetry of, 67;
as represented in Tsukubashū, 17;
and Roppyakuban uta awase, 229n30;
and Saigyō, 351;
and Santai waka, 231n34;
Sasamegoto conceived in context of tradition of, 2;
self-esteemed poems of the old masters, 33, 228n29, 229n30;
and Imperial Princess Shikishi, 351;
Shūi gusō, 219n7, 313n2, 358;
son Tameie, 356–57;
and style of Lord Shunzei's poetry, 49;
Takanobu as half-brother of, 356;
on Tameie's poetry, 71, 250n1;
Teika jittei, 217n1;
on Ten Styles, 36, 168, 231n34, 315n1;
onTsunenobu's work, 359;
on ultimate style, 167, 169;
on ushin, 30;
verse of ineffable remoteness (yōon) of, 146, 147, 196, 290n6;
on yōen, 228n29;
and Yoshitsune, 360
Teika jittei, 217n1
Tenchi, Emperor, 27, 218n2
Tendai Buddhism: on All-Encompassing Oneness (ennyō), 81, 252n3;
dialectics of, 285n5;
on five stages of Buddha's teaching, 250n8;
on form as emptiness, 164;
on friendship, 60;
Kanjin ryakuyōshū, 246n5;
on language and enlightenment, 186–87;
Nagarjuna, 246n6;
on Perfect Teaching (engyō), 81, 252n3;
on Three Bodies, 287n7;
three major texts of, 268n5;
universalism of, 57;
and Wisdom School, 197;
Zhiyi, 268n5;
tenja, 116–17
Ten Styles (Modes), 270n15;
as provisional, 174;
and Santai waka, 231n34;
Sasamegoto verse pairs illustrating, 7–8, 122–32;
in Shinkokinshū period, 315n1;
Teika on, 36, 168, 231n34, 315n1;
the ultimate style, 167–70;
wisdom of nondiscrimination, 56–57
ten virtues (jittoku), 200–203
ten worlds (jikkai), 121, 270n14
that which remains unsaid (iwanu tokoro), 140, 142, 145
Three Bodies (musa sanjin), 144, 247n4, 287n7, 327n18
three truths (santai), 195, 196, 252n3, 327n18
Three Vehicles (sanjō), 56, 244n3, 287n7
Tokushū, 180, 320n5
Tomochika: biographical notes, 358;
selfesteemed poems of the old masters, 34, 231n35
Tonʾa (bamboo flute player), 77, 251n2
Tonʾa (poet): biographical notes, 358–59;
among four deva kings of waka, 322n10, 358;
Nijō Yoshimoto as student of, 347;
poems in Shinsenzaishū, 183, 322n11;
surpasses Kyōun in worldly fame, 183, 322n10;
verse in Arresting Style, 127, 277n42;
verse in Style of Ineffable Depth, 122, 271n18
Tōren, Priest: biographical notes, 359;
discipline of, 171, 172, 314n3
tōrinne, 251n1
torisute, 26
toriyori, 22
Toshinari, see Shunzei (Toshinari)
Toshiyori zuinō, 249n3, 249n6, 304n1
(p.415) triple spheres (sanze), 121, 270n14
truth, conventional versus ultimate, 164
tsukeai (linking), 156–58;
analysis in Sasamegoto, 6;
as dialogic exchange, 26, 194–95;
hen-jodai-kyoku-ryū as structure of, 102–8, 137–39;
priority over the verses, 21–22;
in verses of early masters, 25–26
tsukeku (linking verse): in citing renga verse pairs, 214n1;
in Distant Link mode, 99, 100;
hen-jo-dai-kyoku-ryū, 102–8;
link between maeku and, 156–58;
in renga contests, 114–15;
as response to stimulus, 195
Tsukuba mondō (Nijō Yoshimoto), 201, 210n2, 347
Tsukuba Mountain, 210n2
Tsukubashū, 16–18;
citations from, 214n1;
as first official renga anthology, 3, 15, 17, 210n2, 212n8;
Gusai's verses in, 341;
modern editions of, 212n1;
Nijō Yoshimoto as compiler of, 347;
Shinkei on tradition of, 4;
on Sogen, 268n7
Tsukubashū no kenkyū (Kaneko Kinjirō), 212n1, 214n1
Tsunenobu: biographical notes, 359;
on poetry and Zen meditation, 153, 300n3
Tsuneyori, Tō no, 243n3, 302n6, 305n2
Tsurayuki, Ki no: cherry blossom-white cloud metaphor in, 231n34;
and Kintada, 345;
on mind-heart, 212n1;
poems with preface, 104, 105, 258n10, 259n13;
on poetry and temporality, 52;
poetry as self-consuming passion for, 68, 249n3;
on two poems from Manʾyōshū, 168–69, 313n11;
Winter poem that strikes chill in the heart, 241n6
Tsurezuregusa (Yoshida Kenkō), 52, 247n2, 289n3, 322n9
uchikoshi, 251n1
ultimate style, 167–70
ushin: and mode of ambiguity (fumyōtei), 288n2;
at poetry sessions of Retired Emperor Go-Toba, 211n5;
refined versus vulgar renga, 94, 95;
and Style of Meditation, 169–70;
in Tsukubashū, 17;
yūgen (ineffable depth) compared with, 30
ushintei, see Style of Meditation
ushotoku, 165, 312n7
usō (form), 164
uta no yamai, 85
utsuri, 214n3
Vairocana body-and-ground, 181, 321n11
verse capping, 13
Vimalakīrti, 178, 317n7
Vimalakīrti Sutra, 177, 178
vocalic rhyming, 214n3
vulgar (bonzoku) verse, 83–85
waka: aesthetic ideals of, 41;
circumventing the topic, 156, 157;
classification into ten styles, 315n1;
Close and Distant Link modes in, 96, 98;
contests, 114, 266n1;
decline after middle period, 19;
excessive straining after effect, 89;
four deva kings of waka, 322n10, 346, 358;
grading of, 116;
hen-jo-dai-kyoku-ryū pattern in, 102, 106–7, 108, 137;
Kokinshū on origins of, 210n3;
miraiki, 91;
mushin shojaku, 93;
plagiarism, 86, 87;
post-Shinkokinshū, 19–20;
renga distinguished from, 40, 243n1;
rikugi, 109, 112;
role in renga training, 40–41;
Sasamegoto conceived within context of tradition of, 2;
Sasamegoto on antiquity of, 12;
Sōzei and Chiun as conversant with, 121
Wakadokoro, 243n2, 339, 343
Wakayama City, 209n1
Wang Huizhi (Ziyou), 60, 245n1
Wang Wei, 258n8
Wani, 262n3
Watanabe Tsunaya, 287n6
Way (michi): difficulty of achieving, 185–87;
nondualism as ground of, 67;
puremindedness of, 144;
renga as a, 1–2. See also Way of Poetry
Way of Poetry: abiding by each person's talent, 120;
as akin to the Void, 7, 204;
and Compassion School, 197;
and criticism, 73, 161;
diction and configuration as essential to, 141;
discipline in mind-ground for, 171;
and diversity of forms, 48;
and enlightenment, 164, 166;
and pedagogic method, 192;
poetry's roots in temporality, 51;
sensibility, aura, and overtone in, 145;
seven thieves in, 200, 332n22;
Teika on learning, 36;
as transcending rules, 151;
and worldly glory, 71;
and Zen meditation, 153–55
Wen of Wei, King, 159, 307n7
Wisdom School, 197–98, 201
Wu Ding, 283n7
Wushan goddess, 146, 147, 291n8
Xie Lingyun, 237n4
xing, 111, 261n1, 264n8
Xu Hun, 324n2
Xunzi (Junshi), 253n3, 308n11
ya, 111, 261n1
Yakamochi, ōtomo no, 211n4
Yakumo mishō (Retired Emperor Juntoku), 234n1;
on composing poetry as arising from heart-mind, 325n9;
on double meaning, 239n1;
on excessive straining after effect, 90, 253n1;
on knowledge as study of old Japanese poems, 36, 234n1;
on looking for flowers among flowers, 248n1;
on Manʾyōshū as oldest example of linked poetry, 12–13, 211n4;
on plagiarism, 252n1;
on poem of uselessly clever wordplay, 299n16;
on understanding versus composing poetry, 282n2
Yamagishi Tokuhei, 324n6
(p.416) Yamato monogatari, 236n1
Yan Hui (Yan Yuan), 64, 182, 247n2, 322n5, 323n1
Yao, 180, 185, 319n1, 323n5
yasumetaru kotoba (pause words), 103, 105, 138, 139, 258n7, 260n16
Yellow Emperor, 180, 320n5
Yi Yin, 56, 244n2
yōen (ethereal beauty), 228n29
yojō (suggestiveness), 230n33
yōon (yūen; ineffable remoteness): defined, 288n1;
in self-esteemed poems of the old masters, 35;
in Teika, 229n29;
verse of, 145–47;
and Wushan goddess, 291n8
yoriai (conventional associations): as cornerstone of renga as word game, 41;
Shūa in selection of, 353;
torisute contrasted with, 26
Yorizane, 171, 172, 315n4
Yoshida Kenkō, see Kenkō
Yoshimochi, Ki no, 39
Yoshimoto,see Nijō Yoshimoto
Yoshinori, Shōgun, 268n8
Yoshitsune (Go-Kyōgoku Regent): “Autumn Wind Along Barrier Road” poem, 53–54, 243n2, 243n3;
biographical notes, 360;
double meaning in poetry of, 239n2;
and Genkyū shiika awase, 225n24;
and Rōnyaku gojisshu uta awase, 225n23;
and Roppyakuban uta awase, 229n30;
and Santai waka, 231n34;
self-esteemed poems of the old masters, 31, 224n22;
on ultimate style, 167, 312n1
, 41
Yuan Zhen, 162, 163, 241n5, 309n6
Yuasa Kiyoshi, 273n21, 273n23, 274n27, 275n29
yūgen (ineffable depth): Dharma Body and verses with, 195–96;
and kokoro, 27, 35, 220n9;
in poetic way of seeing, 186;
Shunzei on, 354. See also Style of Ineffable Depth
Yuima, 175, 316n1
Yuishiki (Mind Only) school, 301n4, 310n2, 330n7
yurusu koto (license), 148, 151, 293n2
Zeami Motokiyo, 181, 320n2
zekku (jueju), 104, 258n8
Zen: “by mind transmit the mind,” 76;
Daruma sect, 94;
and Distant Link, 164, 166;
five stages of concentration in, 250n8;
Gozan temples, 242n2;
Layman Pang, 283n6;
monks whose practice bears no fruit, 160;
poetry and Zen meditation, 153–55, 186, 300n3;
Sasamegoto as Zen-like, 7;
and Wisdom School, 197;
on wordless transmission, 324n6
Zenʾa: biographical notes, 360;
hen-jo-daikyoku-ryū, 102, 257n2;
and jige renga, 14;
and Jūbutsu, 343;
Junkaku as disciple of, 344, 360;
Kenji shinshiki, 15;
milieu of, 15;
as “old master,” 237n2;
renga structure perfected in work of, 3;
Ryōa as disciple of, 217n8;
in Shinkei's history of renga, 121;
Shinshō as student of, 352, 360;
among “two or three wise devotees,” 211n6;
verse in Intricate Style, 125, 276n34;
verse in Style of Preserving the Old, 130, 280n57
Zhang Han, 141, 284n8
Zhanran, 321n11
Zheng Hong, 275n29
Zhiyi, 186, 195, 268n5, 294n4
Zhong Ziqi, 60, 246n4
Zhuangzi, 326n12
Ziyou (Wang Huizhi), 60, 245n1
Zōga, Priest, 149, 296n9
Zong Shi, 118, 267n4
Zōtanshū (Mujū), 328n4