Poetic Apprenticeship. Fujiwara Teika’s Shogaku Hyakushu selec Bundy Menumenta Mipponica, Vol. 45. No, 2, (Sommer, 1990), pp. 157-188, Stabs URL: pos oro iissi-027-UF4 eSNG INS ss HCISPSSAPABISHRSHO UCONSRI Momwnessa ipaniea ix cursus puslsbed by Sophia Uvonity ‘Youruse of ue STOR xstiss tvs youracceplence u: NOR" Tern nud Coos of Uk, ave buen jeorsngbuoWeraetna, ISTOR Tema and Cans Use provides, pat, Un es 0 Jk obaned poe panies sy ao osama aie a jouo ol ei fale, wd {ya youn aU STOR alive vy Lue your pn, aoneceourcia ve, Plans outils poll ending ny foe oo Ue wo, Bubb lube ray be use a pa jour oc roptia cl cony iy pat oa ASTOR Kaawsisva na sul Ha smi omy aus thu app the roar ne igen eh nen, {JSTOR ea independent color pol ngacaion doe. od nen poser weal wei Surly joumul, Hur tors infonutuaseguning ISTOR. plows vont! apport, pater itr cy ‘Mon al 17 29:28 2086 Poetic Apprenticeship Fujiwara Teika’s Shogaku Hyakushu by Rosas: BL ay Lovents, composed his isl hundsed-paera sequence, Shoat Hyakuebu Eve. Teka bal wale his publie debut as a poel in JWakedtazuchi-sha buie-prease uae: in the Third Month of 1178, and Shogek TEyakushir signaled his mastery ofthat other eehicle of fovmal poeiy, he waiting of poet seqmioness. Hoth the poetry conest and the poem Sequence quired the pel Lt ceantend with che complexities of composition on topics aud isses of dacertmn and patie precedents, wikhmt a knowledge of which Wo cout poot ecu! prac- fice. With che exceprion of a figure such as Salgy0 i « L118 1190, who work: ed outside ef court circles, uv be w poet in che twelfa Geptury xs 10 compass te farm posry of ula-awose 2¢- and joem sequences. In Haketkgauchisha Giaraase, judged by his futher Fujiwara Shonzei ww ls, WLI, Falk bad besa called upon lo subse. unlyIbzse paems, one on each of tee tapes. ‘Three years later he wus prepured to lake 6m the more dificult challenge of 2 tamdred-piera sequenee. Many yoars later when ‘Tike compiled his personal collection, Shit Gio RR, be pluced Skozaine Hyakaeshu at the head of the volumes devoted to wha he stem lo have zegardes a his most important for al sonipositions. {In contrast, his second hurdred-paem seauence, #nvkaw Det Hyakeasa Wr, 18D. is relegated up an appendix.) Shunesi. ta, Found two poems from Shogaku Fpatashw uo be wf sulfcienl ener. 10 be Included ip the sevemth imperial anthology, Sencerslad fet, 1188. ed hall a concury ‘ater Teika bimsalf commemorated the Deginaicy of Tie casees by including ome poem in Shinchokusenstn Ln his late Ceanties and thieties, Teika would become the originator aud ‘move dacing practitioner of what his contempore:y detsactors called te poeuy cof the dacuma sect (darume fa 3758) and what we know as the Shinlokin nyle, characterized hy fragmented symax, abrupt iostapositions of image [omens Fujiwara Veika ayes, 1162-1241, chen ages Tue ActHoR I, iat prof im fo | End Mine aud Hane A. Vandstpps Tose of Eni Asie Sinem Petine |p REN) fen andes le of eed 200 Cage: She wir shurk Brose © ae 158 Monumenta Nipponic, 6:2 agaiast image, and complex allusions and sordplays. In 1201 he was 10 be ap- Pointed one of the five compilers of Shinkeskinshe 3% 5 und in 1232 the s9Ie soupiler of Shincheisenshd. Likewise, as he walhor of poetie trestises sch 85 Kindad Shaka 2°78 andl Muigedsushd #211, he would come to infnenee much of meslieval practice. Asthe ttle of Stogaty Fvakustu indivales (shuguku moans the frst tage or step of learning), de saquence i the work of an inexperienced post. Na ore ‘wonld argue chat the poems of Shogak Hakusho: belony to ute vulegary of verse thee dsvade later would usher ina new pesto of poetry." Indeed, amy af the poems are Hicle more thal. competent, aud there ae several reunons fer regarding the soqlonoe at an apprentice worh wccupying u minor place in ‘Teika’s loug and illust-ious poetic career. Shoyoku Hyakuste war designed most liksly by Suze ot 30 each to display 2 ew poetic voice bul lo lest far more consorendcly To die Young Teika's aiaslery of tke convection re- uirements far sempesing pacms on assigned tapizs. Firs, dhe focesat of this huadred-noem sequence ig sch that t coud bewssd byra bepinnor with selaive ease, Teika’s Shogutu !yakud i elosely modeled on the pattere of the so-called Kutan FFoakuska <1, comploand im 1130. Several years prior co teat, Reted Emperoe Sutwhu 3 hal invited thirisen ‘ets #6 Foin him in composing individual huesine-poem sequences, This uence somprised twenty poms an springs let sutnmer: Ureuly. aulurin, len, winter; rwvemty, love; two shrine poems; two excomia; five Bulut Twieme; tee poems on sphemeraity: one on parting; five om travel; bso aacrostic poams; and onc long poet, Telks's Shogat Hyadushu i identical ia Forroat excep. that the ‘ong, paca i seplaced by one on the Lopie of personal lament. Unlike Harikawa Hyakush dhat ses a dissete Lopic for each of is hundred poems, Ayan Ayakashi: cemacds only that a poet be able Wy com= pone a cumher of nisms on faely broad subjects.” A'duough the poet cust be tllentive to such matiers 3 scasonal progression, he of she is selaive'y [eee tw select the individual topics for cach subject atea. Ar least pacly for this " ator astlas <qree fax Teiks Yepim i * owe Misa en Hata eee ion cap his now tle ier he computtinn | Mangaka Shinken henéye a Shoe wae “Aalaniaina Honkaok, me WL ly REDE CAR RHE ENE Ey iuahadopom soanose Se 16, er Ake Kapaa, 107%, po L678 hme Se i FajinaneYetareo Rail Horta Baas ems apperis the Butea Stas, gece aust ef Manus Tone et ating Tn mittee, Rnd ani ojatsy ia Fntson ther pots mov a1 son yn 3 Panipat thas dial ses oom sequen: igs, Ghaucawsse of Goka'e iauotaie TEx anders then agh he eon Slewablime am Sheout Sahu, mad of Mimamore Kemibu {5 the adn ite hal mans aie wala, ico" fey > Aagee of Timp Hora pte eal fester espoucative ath dieton Maks ‘These ecm es wade at Fer swe. aM fueomearse weet Heciawt ond leit £1 - turomigowe a LIS Tn Hehe ne iiss AWA te Buvoy: Boctic Apprentiveshin 19 reason. ‘Tsika or his tather Sbunzel peobably chose the Kron Pyakaushis Formal fr ‘Toiku's frst for, saving die more dicicult Zorthawa for Ure Zoe lowing year.” Secoal, Shagukae TIvakzeshu may also have een intended x9 conti Tetka's promise a6 a puel und hie position as Shuzreis Rkely pacts beit in the Mikohidavi 74: family, one who sould succeed ta hs father's powte prin. siples.* In fact. the chuive uf ue Kyzan FAyakusfn sequence isclf may hee heen symbolic of chase hopes. Shute, al he age of thirty-seven, had nat only been a participant in the ovivins] Kvn Ztvakushe hut later had heen ay pointed by Sucoku to ait the xequeuoe a a whole. Alibough this sequence was not Shunzei’s debut work, il marked tbe beginning of » pevied oF enhanced Activity and reoupnition in the court.’ Shunzei places take sequenee, att of hronalogieal order, s¢ the opening work of ais personal eallstion, Chasen Pisd bis. Further, Shusze and his fellow pals recoenized the high eliber ff the verses in his Kaa ZZjukush. Siaty-five of ily poem are included in one or another imperial anthology. icclading uine in Shuseety Senses Dy 1480, Sranzci had hovorn rie Kading haute i the poetic elzeles of the court, His chief rie Fujivara (Rokujo) Kivornke wis" ast ad dis i 1177, and Shunzei had quickly taken his place ‘9 the hovschold of the thea Minister ofthe Rigs ujiwara Kanerane ¥, becoming bs new tutor and Judge at many of the wasaivave he spemsored. In T1A1, Shim) ras oimmoned for the fust tine by Go-Shirakaws & +:4 lo disease poetry. Other wise Follow cd, ad in 1153 cheered etaperor commanded Shuneci ro hegin comming an imperial anthology. Shunzei could achieve no greater puhlc recognition and his thoughts most lave turned ts insuring Ube continuity of his Mikahidar house, Disappointed by ‘as wnlaleuted elder soe Nuriie Fx, Shunvat focused bis hapes on the youthful Teika lo curry an thelr amily traditem.® Amd Telkn swale sure'y have aarsed tia Hheze was no better way to begit: [sua by etapy ‘ng the fevnat ofthe pocat seauease dha had been 20 uportal f bis “alber's f Shurset rvoeniasd Tika as the mioal poetically pitted of his hil, then there i idle dowbt thst he would have urged Teika do approacls the sum 2 Rebota Jee fh Sangin Kain gure fos hy auagestag ea de ovine Baas ee, Tokye Deizny uy shown “e atere tea lms a Shuaaeuka 195. pp S18 mone se a nats one te Shor a discussion of chs. zelod_ of eg Shona Hrstiama, Kasnn on Sunoe!s epee ow Chiton $6. epson SHiyaeu ren the boat 02 the Wake) “Te Pees and Poesy Got of Panay Hocurdeshe Usa, sled four lt. Stow ane dhveta'ar, Unley Is for his ariholsy dsvtamoacone AH Mita. 1994p. 112-13 1m, er Shui reancenn “or and ts 8 i sion. Teka comaaonl ie, Si tot he sor= saat, soe Reston, Pe lige he send bended goon sogatce ay 28 Ah ad po ‘ween aes Ei tt ae wan pubis TA | 160 Monumenta Nipponica, 48:2 postipa of his frst husdred-poern sequence cautiously ond eonservalivey. er ‘years Shuncei had been attackes by Lae Rokujs poels for is lack af Jearuing’ his felstive disinterest in Useis autiquasian apprusch 10 poetry. burlbee, Shunzel hiesell was a conservative figure who varefully Hiited the scupe a the socabulary anu semibilities permissible ia waka. oz both these reasomo, ib Js likely that he would tune discouraged acy cadical tendencies tkal Teka night have displayed. Yeaun later when Teika himself devsribes in Afacgutsusho the traning of & pect, Ne demands that a bogianer master the basics. pulling aside "is of het desir for idiosynevasy. There Js no resson to believe that Shnnzel conuseled arherwise {AS Important probably tom Teika's point of view. however, would have Deen the weight of Skuezei’s auceuupysluuenls a a poes aud Cainkes. How Bke- Jy would an inexperienced poet of lweniy save Celt plepared Co challenge his i Tnstrious father? Shunzsi cnconmte:sa fn his youth a poctic practice waubled by ap awareness thar its language and stlisis deeioss were overnsod and na. lmyer anssisred to the exprsssies needs af Te comemmoransaus sercration of poels. Muny of his fell pacts, nonetheless, sezmed to favor chs safe roure of an innocuous repetition of the jasc sthers sovght novelly m ever more wir- uous coauels in unfariligr vocepulary, Uran cither fram the calloyuial Tanguage sr from Uhe ancient $Mar'vosTe ‘61. Shunaei. in extras, de tmomirated ia his pastry and criieal writings that emotional eamviction vould be restored to waka while sil amoring the vocabulary acl sein tf the past, Like the mtoze conservative of his predevesaors, he argued Ural vouct poet:y continge 10 we We vouibuliay of the sendeistia afm, o¢ Ms Uses inpasial amtbolugies, Kukinshir 1, Gusensha 40% , aud Shisha ‘is, But he went on (0 suggest that these collections, a6 well as such prose works a8 Genji Momagotar’ Cpt. were he sepusitories of iomutable Lets df Tuan experivaces and emulious, of, ole termed i, hon’ 4.3. TL was the task of poets, so matter the age in which they lived. ro study dese canonical texts, discover thei quths in Uieie own heart, and disclose Aon’y in their oot, Further, Srunaei wus not merely gancerned withthe poet's ware of mind. In- send, he redefined the Function of poet diction. Its primary rale ws no the linear treasmissign of a conceit ht the evrcarion of a mood ar armosphere through ils aural qualities and through msriad resonances between sud and sword und bebseen the present poce: and one or re earlier verses. These leals w2 emotional eomvzction und rich resonances are nuwhere eller die played than in Stamze's own work, Peuhaps ao other post equaled his sens) tivity to the emotional tonalides crested Uy the sound and chytin of dition and tothe moods stmatoced np by images, {Ti sensibites and dicrion are ate senior of Simro Tien Haruo BF Sinko Kart 40 Kee Nel Sood sen 95, Bunpy: Poetic Apprenri ship 161 ‘thoroughly those of une possie canon; here is no einer ofthe ssecelyilveya erate, And yel his poeme in whieh che genius of pectic teadition sums at Limes {o speak ify ost pofished form, also give the impression of being grounded J concrete emotions. Shunze!"s words are always tethered 10 these feolicgs ‘and experiences he believed tn he heyond change and Loss, All of the above canuiions related ta the somposiion of Stogek Ayashi azgue What this quence i the leas likely place co seck for sighs of some quality thal is distinctively Jeika’s. Revertacless, cere are also several teasors for nol dismissing Ue work. bial, Isika'y eareer subsequent 10 Shogaky yakushis of 1181 van hardly be deserihed as that of a decile adlicrent tb even Shunzl's poetic siyle and preeeprs. "Tre, ‘en's later, i novative style is ounued wn such rations af Shunzei's 33 kon 8, omakaae * andl yigen 24. O1 more previely, there wus x ululetical relationship heowsen Shuneet's principles, exp! ity sated for he fist cime in the Inte 11h and the 1905, and the poeicy of the younger geceration of Mikahilan pocts Likewise, Shunzai usod his prestige aud influence ro support Telka’s efforts Uraugh those years when his s0n°s pooms ore castigated a the eonsensica! works of the Darurmu sect. Thus, for evarapls, Showzsi petitioned Go-Toba that Teika be ncluled simone the nawts af Soi Homeushne ri 4, 1201, arguing that ia contrasw the Rokuja nets whose verses were Mpoctic, old Iashloged, or erer-ridden, his som had ‘wrered the forms of oetty, ad e- ised new diction, and spugh! new, interesting efcots that sould nar be fom fn the poetry af the pasl* Shuroei was well aware thac Telka “ad bran something new to ska, Wut Shunzen sho remained clearly anbivnlest, qtes- owing some of the younger poels experitents with dietion or diplomacicey allowing at some of wir enupositione were beyond his capacity tor understanding.” ‘What is more important, Shuszei and Teika differ fandamsmally a6 poets. ‘Tose poemis most Sharavlerilie wf Telku’s innowarive style display fire af the tic emotional resonances sucumnoned up hy the mellfunus cadences of Shunzei’s verse. Instead, ther effets aise from he shay juxtaposition at in- ‘age against imaye nod phrase against parase, breakiug the conventional cones Hone of diction and retorential conse. For Toika, tnrter, Rot’ is nat #0 he recovered throush Lae dehnoatien of the impwlss of the aman healt bot Uirwuch images, contingent am neither a specific pacts sncakcr nor context of ‘camiposition, Shunzei is a poct of emotiansl ecmviction, sill contriving, t= splte the Tact thal as velees on sel Lopies much of his pocery was Retinal, & Sig Boao Snast goa na 3018 oe HORNA Pa nmapiy Sore “88 Haron A yy El 2 Tae exon te ican « rivara Sh 162 Monuments Ninponica, 4:2 voice of persanal feelings, Not 30 Teta, for whom iy scems erly the wards of poetry exit, to be manipiated by the post!” Wisin Singakee Ayetusku tht Teika was compelled ro serionsly position himgelt i relation em hie father and the cest 02 his poetic as. Ls uml that ‘oven ache time of Shogak Hyak he would have been cantent 19 produce ‘merely pale shader wf wartcr pooms. Hoth the ereulivty he displayed ay soe After a well ws what we know of his arrogant und priekly lemperamenl argue ageest chal possibilty!" Uhe very grealnens of his father. bolls as poet sd linker, sould have made it imperative that Teika claim a distiaet identity. Tt ‘true tbat originality td been secerally litle valued in the Wiioey of waka sand Laat Telku, in keeping with his father's principles, coatinued le ee the ‘sanonical poet wveahulary. The natian af old words, new woaceptions* as furdamental to his poeiry. Nocetheless, all Use lesding posts frou the Ite eleventh vewury onward td slruguled to fxd a place fos personal es piessiveuess in 4 period when, in the words of ans post, ‘thore were no eM fimonts or conee'cs lett #9 use, nor any words chat had been neglected"? Teika’s tims was not ans of semfortable continnites. Since Shunzel hall suc- ceatled i shining u poetie vaize of 'seIP that eeined a ci ystllizaion of Lae emotional sensbiflies of Une poatie cacon, Veka’s place could aot Dut be elaewhere “The preneut saticle, herefure, um uo davover how aud whee Telks seats ‘outasa peel in Shogukw ZDrakishy, Given the eitoumsstivod uatucc of postic prscive and the mature of thie sequecce as a debut woek, He disuinetiveness wil aot be displayed in exuavidinary osrishes but in subtle shifts oF cm phasis and in the divection of che choices be makes ‘a vocabulary and references, Altbonglallusiv variation, oF fomkadart weet, had not ¥e: been July defined as techni. the poots of Teike's rredovessors are everyinere evidenced in this sequence, and Shunzel’s area particularly rong nresenes. Ie 5s within Teika’s cialopue with :hese earlier paoms thar his dictnetiveness sloe= 1W seveal (sll, Bofors innovation vomes mastery of the canon of The past, an ‘Shopakis Hyakusb reveals this abers al. It alsa displays some fundamental Aseufy wey I2Menr IBM GioeToha Tae Sas Teachings’, ps MR Al. anited Shancene poe ty "pelle lea yevy peta che See pe leita Ee ii ota te Rotubienate Moret He Bicwa, “akinpawn Gos 2 ghipteclaabe eth oe Tacha Co-lape adda Magers vssbiget) met. Took ene SBOE, gresbe oe, Zant eet ig sted Fis a BK iba, souanesiary Yee af td, Rugotsht ei, nae Sy oh ot Teleg «69 posohe found tec. Saozabsien 8's) pe AAS BUNDY: Poclic Appremliceship 163 feanues of Teika’s poetry: a funzinulion with poetic language for ius wn ke um absence, even sttimcs a emissal, ofthe eis voice that chécacterizs his father's works and in its laos a reliance on intagos tat cavasmatize IeTings Inthe pages tht follow will be examined poeuis teat reveal beth Telka’s cue ing af the pust and his recoiling from it. Hirst, wows, er us look a¢ his point of entry into the seqnence and ehus into diglagne with his predecessors, and his sublle maneuvering for a place to stand ‘Shogek Fyaksitw open wilh this poem othe urrivaL f spring eure bi x0 Ae th ih bike! me 16 sane ight shines nchanaed, aon 0 rb 10 burg ie Raul aed nf 10 90 Do even base aes ee 8 Ione ets "hat twee wore hay ee teika’s poem fuléills sell its requirements. Firs spring wis commonly believed ta arrive from the east, and Teiku brings that motion to fe by speak ing o2 he ua cning al dave on she first day of wpring. Secon. apprapriage (o spring and to the opening of a seajence, this poem sets up a broad vist, sks:oty in its dels bot wilh an overall seuse of hiuinons wbiteness, The beste ‘Maown poem of this soit is peshaps thal af Mibu n0 Tadauuige 1-1 8", with sigh Stavshe opens: Pare tle te Sing vos tol, a Dake on 7 Ant fv tal wemen sash Ts lovely Yoshine ome mo aster “This wawring ¥ 29a see Tees va mijuran™ 1 toma eiled i ace? Sicilanly, the decorum of a pawem on dhe urrival of spring demanded somehing of » eelchrutory air. Iv Tetka’s poem this tone fs enhanese By the Suet chat the line dct Ai. i found im several earlier encomiv and nowhere auch she. Thus, for example, we find this poet in Kokhashu ‘Composed ar the tine of ths bith af ths Crown Prince Mine wash Trem. beyond she hia reac esa to 0h 0 psn ang ene ure Bi wp mei ie st scr tok ah ‘hud reve ll nds boetrr vase eva tne dieing lor’ a pins 1 aye ad rao snorted ents of fe accring 9 Shots Kabb Tear Stogniy Mookie: Randa Tile ef ot, wey Kadekeny 169) WW cule Che gana, feke Sul een Cache: monbaing es tbe ose ed Ra eens Aponte wat a kti | Paen Euainine Tetio, Zenker Besa oem, | ach TN Kea, 8,9 sajna: enul r9 zou 1A, TP stonabe Roots: | She oki sh, Shab At Monumenta Nipponica, 43:2 Finally, Teika may have lsd in mind the following poem in Kysem FRvokushu shea he wrote pactcultuly he socand line of his posi! Atetunwe Loud ue ss ara a 29 ont sore mo Lie ak sever eunst amoreba So aw sit Lal ego Fotos po "ha its ls svi his eae Ihave nara ene se? Takase hors speaks of the unchanging aualiey of the sky evan im chis fre day 0° spring (he seems co: make ceference t0 the old simcelt thatthe eyeles af nature do not necessarily ascard veth che enlendary. Cammentatars agree that Tikes onay) Aikars means a Tighe no ditferent fram smy other day, and ‘akasue's poem supparts wich a reading hors are places, hewrever here Teiks also annears to maked point af shift- -ng away from the works of his predscer«ors. Posts generally speak of ch areal of spring in relation wo moutuaine and fields, with haze oF eceling ive ‘nd suo, aud mace rarely the sky. One of the fe poem that ievuhe de ses the following, again (rom Kymin Pvatusher™ fn chika Sued i ste Sub ma me ‘he haze Ua coves ke waters Smunera oe 1 butiead Ba, kr mrama 9 All bese ith te sre uf hae hora pa Rimaraons™* Sorina ta vel In comparison to this pacm, Telka tas vay cnlargcd his seascans 19 ener. pss all occas. His is # srarder vision. Mero important, Teika strmely im- Plies in the third and “Oprth Tinos, porto wo want no naral rm, chat hit se and waves stand in contrast ro the mors eormmnon moumaling and Relds. Spring arrives nat ony in ress mountains weniomed hy sa any poets, but Aka Beze among the saves of the sea. Tadsmine’s poo, quoted ahve, exemplifies the stub shed rresoment nf chs topie ‘arrival af spring’, and Lek may well have Trad that poem in eu, But Teika also seers Wo respond snore dicetly lo his (arhee Shunsei's yoem in Ketian Lsukusher Haw fin 10 That spree here ete ebb oe 1 kasse out ie sh, esa nome Tor above Kasur wus nie no aso eesti he woruing Tish Beshibe trot OF tue ste aig on Fs peak Fakes HA, Kp eh 9 Deep tae The srw scan le "0 Wie eis elie ous ia Kite elgepel wh ie? Meg ell 7 Dos ‘Si poo, eciely ion Bort aie 2 Vr ia dn 0s ‘tn Fotos stwsl sao abales te £EC3 Kong ne: High ia Ttiz, Am o5h0-8 He na sta pa A Uiontany Hctarhe Me "eavwon ate? tea tnne no tke sok Chika 2s on ashe sea inches vot pa not statins Smo buen Hyatt BuYY: Pootiy Apprenlizeshin 168 su this poem, which may also be rclateé co Yonuka's Kokinsha poem above, Shunget speak of ete mocniag suilight 9a Kasnga raguntain. Telka invokes perhaps rhe same light aver ehe sea. If such a reading is possi, chen Teiky ayy homage a, bur alyo distinguishes himself fram, hi fauhor anu maves bo stand heside him. Tscerestingly, tho scone of Teika’« poem would precece in time that pf his Father. burther, its eempling to Leal the speing Bight jn batt, ‘poems os a metaphor for che dawning wf new ages poet preatness.”” Teika them vlaim far himself the sume potentiel (or rebicth as his father dl Before Deus wit hie things are to start anew ouce wore ‘Teika does nol here repudiate hip Cather ur the oiler posts whose works wy have in one wy ar snather influenced hin. Likewine, theres nosing oiking- ly inuowative snout his poem. Conversely, tosh, it iy a accomplished as Trakasve's or Chikagaka's coed perhaps even Shrmzesin dis zaye, He deploys not only his mastery of the requicemens of the Lopio but a self-assured skill, tat pesmills him to adress so drvcty his predecessors” nacms. To an exta~ dlinary deaioe, Tsika’s poom ceutrants rie calor vers. It369s Fmpssiblein the relish century ¢o write a pocra that did nox in same way refer to anoLher oem, hut ‘Teika rashos into the midst sf his predecessors” works ant here Jncsee an doing more than they. Jn this poem, he wis nol couteut with he conventional monntains ard fields, bul moved te uhe sea. aud pol chs or sea hut ull he vosans. Here the image enriches jue perception of une easing of spring lo all places, but, as will be seen lover, ie atilude at times leads 10 a Ind of atridency und bluntnes in bin pcan. “Timidty sertaialy does nal desetibe Tecka's approach to pootty, {tie this confidence, in fae that distinguistes his mining of the past. Throwghout Shoyak Huds, he s2cks la display his migstery of the charreeritic Novebulaey and voices 0° the poeury of de past, tyZne out dierent anes in (ea, These elforis should not be disatissed as more imiravian, Ono senses, rather, @ eseulated dkseotion of the accomplishments of the past, before the oot moves forward to something nes, The retianskin booseen Tetka’s poctry and Shonees's is particularly celling and will be nddrewed in detail ‘below, will stat Instead with Teikr’s choices among che canpaacal wcaba- Jay of waka, his agatessive seck’ng sor expressions chal are churuc.ers- fic of one or anather text, hut which have heen fils ned subseyuer i waka, Thare is little resenance oF meaning or mood helween Heku's pues and those carligr ones fram wich h culls these oxpresivus. Hip iterent is clearly in roappropriating the ‘old words’ themselves, broken off Geom their original contexts. ‘Isike’s penchant for the unusal expression Is shoe“) Fallossing Kive pees, Daneel un awe Kokila verses, Teka's poem reads: