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The Society for Japanese Studies

The Art of RengaAuthor(s): Konishi Jin'Ichi, Karen Brazell, Lewis CookSource: Journal of Japanese Studies, Vol. 2, No. 1 (Autumn, 1975), pp. 29-31+33-61Published by: The Society for Japanese StudiesStable URL: http://www.jstor.org/stable/132038Accessed: 24/05/2010 16:19

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KONISHI JIN'ICHIONISHI JIN'ICHIONISHI JIN'ICHIONISHI JIN'ICHIONISHI JIN'ICHIONISHI JIN'ICHIONISHI JIN'ICHIONISHI JIN'ICHIONISHI JIN'ICHIThe Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

The Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

The Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

The Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

The Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

The Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

The Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

The Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

The Art of RengaTranslatedwith an IntroductionbyKAREN BRAZELL AND LEWIS COOKIntroduction

Rengaor linked verse is a literaryart that was extremelypopular nJapan between the fourteenth and the nineteenth centuries. Thenatureand objectivesof rengaare so different rom those of otherpoetic forms that Westerners oo have been intriguedby it, and atleast one internationalgroup of poets has attemptedto produceWesternrenga.1However,very few people today, Westernor Japa-nese, actuallyunderstand ow rengafunctionsor why it was enjoyedby so many people for so long. These are questionsKonishi dealswithin his book Sogi.2Konishi Jin'ichi s well known to studentsof Japanese iteraturefor his wide-ranging tudies of poetry and poetics. In addition tonumerousarticlesandmonographs e has writtenbook lengthstudieson theRyojinHisho,an anthologyof "contemporaryongs"(imayo)compiledin 1179; on the Bunkyo Hifuron,an influentialstudy ofChinese poetics by the priest Kikai (774-873); on N6 criticismand the treatisesby Zeami;and the introduction o Sogi and rengaon which the followingtranslations based. Some of Konishi'swrit-ings are availablein English: "Associationand Progression:Prin-ciplesof Integrationn AnthologiesandSequencesof JapaneseCourtPoetry, A.D. 900-1350," "New Approachesto the Study of No

1. Octavio Paz, Jacques Roubaud, Edoardo Sanguineti, and Charles Tom-linson, Renga, A Chain of Poems (New York: George Braziller, 1971).2. Nihon shijin sen, Vol. 16 (Chikuma Shob6, 1971). Translatedwith thepermission of Konishi Jin'ichi and Chikuma Shobo.29

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Brazell and Cook: Introductionrazell and Cook: Introductionrazell and Cook: Introductionrazell and Cook: Introductionrazell and Cook: Introductionrazell and Cook: Introductionrazell and Cook: Introductionrazell and Cook: Introductionrazell and Cook: Introductionpoet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.

In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

poet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-

gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

poet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-

gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

poet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-

gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

poet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-

gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

poet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-

gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

poet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-

gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

poet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-

gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

poet Konishi presents illuminatingobservationson Sogi's contem-poraries and the world in which they lived. The second section(from which the translationbelow is taken), is a generaldiscussionof the artof renga,based on Konishi'sexperienceand research.Thethird section is an explicationand analysisof the best-knownrengacomposition,popularlycalled the Minase Sangin ("ThreePoets atMinase"), composedin 1488 by Sogi and his disciplesSoch6 andSh6haku.Althoughwe have includedexcerptsfrom this section asillustrativematerial in the translation,readers are referredto theoriginalas a lucid explicationof a completehundred-verserenga.In preparingour translationwe have also taken advantageofDonald Keene's translationof the first50 versesof the MinaseSan-

gin, which includesexplanations n Englishof links between versesand other technical information.6Again we refer readers to theoriginal.The materialpresentedbelow is not simply a translation.Wehave been forced to abridgeKonishi's work and, in the interestofpresentingas muchinformationas conciselyas possible,have freelysummarized nd occasionallyrearranged is original.We should addthe furthercautionthat in the processwe may have exceeded trans-lator'slicense in alteringthe style of the original.Konishi'sbook isaimed at an educated but generalJapanesereadership,and movesat an enjoyable, eisurelypace, the text interspersedwith anecdotesandfamiliarexamplesfromoutside the realmof literature.Much ofthis materialhas been excised. We are grateful o the authorfor per-mittingus to translateand to adapthis work,but we are solely re-sponsiblefor any misinterpretationsr errors n the text below. Thenotes are ours unlessotherwise dentified.

CORNELLUNIVERSITY6. In his Anthology of Japanese Literature (Grove Press, 1955), pp. 314-321. Quoted with the permission of Donald Keene and Grove Press.

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Journalof JapaneseStudiesournalof JapaneseStudiesournalof JapaneseStudiesournalof JapaneseStudiesournalof JapaneseStudiesournalof JapaneseStudiesournalof JapaneseStudiesournalof JapaneseStudiesournalof JapaneseStudiesThe futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

The futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

The futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

The futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

The futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

The futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

The futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

The futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

The futatsu tatsunari (two standing) of the first verse can be takento modify the two shrines, Kamigamo and Shimogamo, in the sec-ond. The place name Kamo is understood to mean kamo (duck) andthus is related to "waterbird." (This is the process of torinashi de-scribed above.) Riverbed and waterbird are "related words" (engo).This is a model shinku.

3. keiki (scenic link)This link should form a pleasant scene:

naku semi no hayamano take ni kaze fukitecicada cries in foothills of bamboo wind blowsyuhi suzushiki mine no matsubaraevening sun cool peak of pine groves

This verse is in the descriptive mode. Purely descriptive verses ofthis type were esteemed in the Gyokuyoshuiperiod, and the Kyogokustyle is the basis of descriptive verses in renga.15Links of the keikitype are considered shinku, but frequently the link is not very strong.

4. kokorozuke (link on the basis of sense)These verses are connected by "sense" (kokoro) rather than byassociations (yoriai) or related words (engo):

wakare wa kore zo kagirinarikeruseparationthis indeed is finalame ni chiru hana no yube no yamaoroshiscatteredby rain blossomsof evening mountainstormYoriai refers to conventionally recognized associations among things.In opposition to the first line which means "this is the moment ofour separation," we have an unpleasant evening scene where thereis not just rain, but a mountain storm to hasten the departure of theblossoms-a final separation in another sense. These verses arelinked not by using related words (engo), but through the meaningof the verses. This is a weak shinku.

15. The Gyokuyosha was the fourteenth imperial anthology of waka com-pleted about 1314. It was compiled by Ky6goku Tamekane who was a mem-ber of the innovative Ky6goku-Reizei school of poets.

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Journal of Japanese Studiesournal of Japanese Studiesournal of Japanese Studiesournal of Japanese Studiesournal of Japanese Studiesournal of Japanese Studiesournal of Japanese Studiesournal of Japanese Studiesournal of Japanese Studies7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

7. yosei (suggestive link)Something is barely mentioned, yet the suggestion is pleasing:toki kinuta no koe kikoyunaridistant fullers' blocks voices heard

tsukino yo no fuke yuku mama ni shizumaritemoonlit night as it deepens silenceThese verses contain an undercurrent of suggestion which spreadsbeyond the scene described. As the night deepens, silence falls inthe immediate vicinity, so that fullers' blocks in the distance becomeaudible. This is all the verses express, but there also is a vague sug-gestion of a wife waiting for a husband of whom no news has beenreceived, or of a woman waiting for an unfaithful lover.17 This typeof link is remote (soku).

8. sotai (correspondence)A link of correspondence between things such as spring andautumn, morning and evening, mountain and field:

towareneba nochi no ashita mo isa shirazubecausenot visited now tomorrowmorningalso is not expectedkyo miru hana no yuki no yiigureseen today blossom snow at dusk

If instead of these verses we had the following example:haru no aware wa akebonono sorathe beauty of spring is dawn'ssky

uki aki wa nao yugure no kokoro nitethe sadness of autumn is evening's heartthe link would be simultaneously a "link by correspondence" and a"four-hand link." Example number 8 is not strong enough to belabeled a four-hand link but it is nevertheless a close link.

17. The motif of a lonelywife beatingon a fullingblock is a commonone in boththe Chineseandthe Japaneseraditions.For an examplesee theplay "Kinuta"n NipponGakujutsu hink6kai, apaneseNo Drama,Volume3.

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Konishi: Rengaonishi: Rengaonishi: Rengaonishi: Rengaonishi: Rengaonishi: Rengaonishi: Rengaonishi: Rengaonishi: Renga9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

9. hikitagae(unanticipatedink)To thinkof the rain on a moonlitnight,or to be remindedof thewindby a verseaboutblossoms:matsuno tonari no yamazato o harupinesof neighboring mountain illagespring

chiruo miru yosono hanani wa kazemachiteto see the scattering of other'sblossoms await hewindOrdinarilyone finds the waka poet hoping the wind will not blowso that the blossoms will not be scattered.Here just the oppositeis true. The poet wishes to view the falling petals againsta back-drop of green pine. However, along with this aesthetic wish isthe selfishdesire that the blossoms which scatter be someone else's.This is a specialcase of the "linkbased on sense"(kokorozuke),butthe link is stronger.

10. kakushidai hiddenthings)Verses containingpuns (shaku) are of this type; the names ofthingsare sometimeshiddenin other words:18tsukino wazukani kazumuyfguremoon lightlyveiled bymistat dusk

kumano sumu utsuhoginagara hana sakitebear'sdwelling hollow og, yet flowersbloomThe syllablewa in wazukani (lightly) is taken to be wa meaning"ring"(an exampleof torinashi). Tsuki no wa (a ring around themoon) and kuma (bear) are relatedwords (engo).l9 It is highlyunlikelythat the author of the first verse foresawthat his contribu-tionwouldleadto thementionof "bear."The linkis made evenmorestartlingby the fact that the word "bear,"considereda very strongimage,is limited to one appearancen a hundred(later, in a thou-sand) verses. This type of link is usually somewhatcloser than a"word ink" (kotobazuke).

18. Kakushidaiwere also used in the poetryof the court tradition.SeeBrowerandMiner,p. 197.19. They are relatedbecauseone speciesof Japanesebear has a white"moon" n its chestandis named sukino wa guma(moon-ring ear).

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