Fujiwara no Teika
Fujiwara no Teika 1162-1241
(Also Fujiwara no Sadaie) Japanese poet, anthologist, critic, and diarist.
Recognized as a seminal figure in classical Japanese literature, the poet and critic Fujiwara Teika presided over the Shinkokin Jidai, a pivotal half-century literary period of the late twelfth and early thirteenth centuries. Regarded as a high point of innovation and renewal in Japanese poetry, this era takes its name from the Shinkokinshū (c. 1204), the eighth and by many accounts finest imperial anthology of Japanese verse, compiled in part by Teika. As a poet, Teika composed works almost exclusively in the waka, the dominant lyrical form of the Japanese classical period, a five-line poem consisting of thirty-one syllables, arranged in measures of five syllables, then seven, five, seven, and seven. An acknowledged master of honkadori (“allusive variation”), Teika perfected this technique of adapting the ideas, imagery, and phraseology of recognizable poems of the past, and integrating them into his own verse, while simultaneously harmonizing and contrasting the sense of old and new. His often experimental writing, noted for its sense of emotional detachment, evocative yōen (“ethereal beauty”) style, and authoritative conviction (ushin), is considered among the most influential in the Japanese tradition. Admired for his originality in the composition of practical and theoretical works, Teika was a key arbiter of poetic taste in medieval Japan and the sole editor of the nation's ninth imperial anthology. Teika is also popularly acclaimed for his collection Ogura hyakunin isshu (c. 1235; The Little Treasury of One Hundred People, One Poem Each), which is the source of a well-known Japanese literary card game still played during New Year's celebrations in contemporary Japan.
A member of the influential Fujiwara clan, Teika belonged to the Mikohidari branch of this aristocratic family whose members were part of a long literary tradition, enjoyed multitudinous links to the Japanese imperial court, and were notorious for their affinity for political intrigue. Born to the renowned poet and courtier Fujiwara no Shunzei in 1162, Teika was inspired by the talents and prestigious position of his father, among whose achievements was the compilation of the seventh imperial verse anthology, the Senzaishu, or “Collection of a Thousand Years.” In his youth, Teika heeded Shunzei's urging to devote himself to a literary career. His earliest published verse appeared in Wakeikazuchi no yashiro uta-awase (1178), a compilation of works written for the poetry contest (uta-uwase) of the same name, which gathered talented young versifiers and was judged by Shunzei himself. In 1180 Teika began composition of a literary diary, his Meigetsuki (“Chronicle of the Bright Moon”); he would continue to add entries and edit the work until about 1235. Advised by Shunzei in his fledgling literary pursuits, Teika completed his first hundred-poem sequence, Shogaku hyakushu, in 1181. Teika married twice. His first marriage in 1183 dissolved within a decade for reasons that remain unclear. During this time Teika continued to compose collaborative poem sequences and also judged his first poetry contest, the Miyagawa uta-awase, in the late 1180s. By 1189 Teika had received formal recognition of his place in the court of Emperor Go-Toba, his principal patron for the next three decades. Meanwhile, Teika continued his productive association with the so-called Kujō-Mikohidari poets, a literary coterie of young writers that included such noted versifiers as the Tendai abbot Jien, Kujō Yoshitsune, and Fujiwara no Ietaka. Teika's connection with the group would culminate in 1193 with his contributions to the Roppayakuban uta-awase, a sizable and decisive contest that pitted Teika's innovative poetics against the more established and traditional works of his conservative contemporaries, the Rokujō poets, and brought Teika unprecedented attention as a writer. Teika remarried in 1194, this time to the daughter of a palace minister, also of the Fujiwara clan. The union produced a son, Tameie, born in 1198. That year also witnessed the abdication of Emperor Go-Toba, a move that did little to prevent Teika's patron from his continued engagement in political and poetic matters. The relationship between the haughty Teika and dilettantish Go-Toba remained volatile for years, with the ex-emperor forcing the poet to accompany him on far-flung and expensive excursions throughout Japan that sapped Teika's patience, health, and finances. After withstanding a series of disappointing conflicts with Go-Toba, Teika was commissioned to contribute to the esteemed Shōji hyakushu (1200). Go-Toba subsequently named him one of twelve members of the newly formed imperial poetry bureau or wakadokoro and one of six compilers of the Shinkokinshū, the esteemed eighth imperial anthology of classical Japanese verse. Thereafter, Teika became the personal tutor of both Go-Toba's son, Emperor Juntoku, and Shogun Minamoto no Sanetomo, leader of Japan's military government (bakufu) centered at Kamakura. Teika's outstanding early critical work, the Kindai shūka (1209; Superior Poems of Our Time), was written at this time to instruct the Shogun in the art of poetic composition. The poet's growing mastery of his literary talents was subsequently featured in his personal collection, Shūi gusō (1216), a work whose title means “Gleanings of Worthless Grasses.” The poet continued to write well into his later years. In 1220 Teika underwent a final break with Go-Toba when the ex-emperor forbade him to engage in his duties as court poet. This sanction, however, was relatively short-lived as the defeat of imperial forces by the samurai warriors of the bakufu in the 1221 Jōkyu Rebellion forced Go-Toba and his son Juntoku into exile. A new emperor, Go-Horikawa, was named, replacing Teika's former patron. Strong family connections and an alliance with the Kamakura government served Teika well in the ensuing period. Elevated in rank by Go-Horikawa, Teika was afforded the enviable opportunity of compiling the new imperial anthology, the Shinchokusenshū, a project he undertook in 1230 and completed approximately four years later. Despite advancing age and decades of poor health, Teika continued to compose poetry well into the 1230s while grooming his son Tameie as his poetic successor. The crowning achievement of this period was his compilation of The Little Treasury of One Hundred People, One Poem Each. Teika's death in 1241 did nothing to diminish his renown, which continued to grow well into the subsequent eras of Japanese literary history.
Due to their long-recognized and enduring influence on Japanese literature, Teika's writings have been extensively preserved and codified by scholars from the medieval era to the present. Major difficulties for modern scholars, however, arose in the centuries after his death as spurious works were fabricated and ascribed to Teika by his descendants eager to promulgate and share in his unprecedented fame and authority. In the contemporary era, the standard critical edition of Teika's collected writings is the comprehensively annotated, two-volume Japanese edition Yakuchu Fujiwara no Teika zenkashu (1987), edited by Kubota Jun. Interest in Teika outside of Japan since the nineteenth century has prompted foreign language translations and critical commentary on his writings, including English versions and scholarly analysis of his Superior Poems of Our Time and representative poetic works.
Teika's writings can be divided into three general categories: original works of poetry and poetic sequences, anthologies and critical pieces, and literary prose, including a diary and a lengthy romantic tale. Among his poetic works, the waka pieces of Shogaku hyakushu are typically viewed as apprentice efforts composed under the stylistic influence of Shunzei. Intimations of Teika's developing individual style began to appear with his poetic contributions to Futaminoura hyakushu (1186), a collaborative collection that suggests a future break with Shunzei's lyricism and his poetic principle of yūgen (“mystery and depth”) in favor of the yōen style characterized by its evocative symbolic language and haunting imagery. Shōji hyakushu (1200; Hundred-Poem Sequence of the Shōji Era) reflects Teika's broad and effective use of allusive variation (honkadori) to fashion innovative works of poetry from the raw material of so-called foundation poems, familiar pieces of the past that constituted the Japanese literary tradition in verse. Teika first collected his original poetry in the 1216 edition of Shūi gusō, a work that in its expanded 1233 final version comprised over 3,500 waka. The collection prominently features the two main subjects of Teika's poetic oeuvre—love and seasonal poems—along with elegies, occasional and congratulatory verse, travel poems, and pieces on other mixed or miscellaneous topics. The Shūi gusō also marks a shift from Teika's youthful romanticism to an immediate, observational style that nevertheless eschews the limitations of personal subjectivity. Scholars observe numerous affinities between Teika's poetic anthologies and theoretical writings, which were often crafted for similar ends. A principal example of this tendency appears in Superior Poems of Our Time, a short treatise on poetry together with a relatively lengthy poetic sequence illustrating Teika's aesthetic theories through representative works of classical Japanese verse. The volume also includes a brief history of the waka from its origins in pre-Heian Japan, along with guidelines on the proper use of allusion, diction, imagery, and poetic themes. The eighty-three poems by thirty-seven poets whom Teika selected for this handbook range in age from the late seventh century to his own time and were intended as models in the proper use of emotion, subject matter, and formal poetic construction. With his Maigetsushō (1219), Teika composed his most comprehensive critical treatise, a work that builds upon some of the ideas adumbrated in his Superior Poems of Our Time. Taking the form of a letter addressed to one of his students, Maigetsushō first warns against excessive reliance on archaic style, then goes on to list the ten fundamental poetic styles, each with instructive or evocative titles (for example, the “demon-quelling style”). The treatise also details the poet's centralizing ideal of ushin, or “conviction of feeling,” describes the impact of breaking traditional poetic patterns, and provides further formulations necessary for the achievement of distinction in verse. Other critical works by Teika include Eiga no taigai (c. 1221), which contains an illustrative poetic sequence similar to that of Kindai shūka (1209), and Genji monogatari okuiri (c. 1235), a commentary on the seminal Japanese proto-novel Genji monogatari (c. 1010; Tale of Genji) by Murasaki Shikibu. Among Teika's other prose works, Matsura no miya monogatari (c. 1190; The Tale of Matsura) is an early experimental departure from Teika's otherwise lifelong theoretical and practical concentration on poetry. A fictional tale centered on the romantic hero Ujitada, The Tale of Matsura is set in Japan and China prior to the establishment of permanent Japanese capital cities at Nara and later Kyoto in the eighth century. Originally written in three volumes (or, more accurately, on three scrolls), the tale features elements of fantasy and the supernatural and unfolds before a backdrop of war and succession in early medieval east Asia. After a series of harrowing adventures in China, its Japanese hero returns to his native land where he marries a magically revived princess he has long since loved and lost. A work of romance, The Tale of Matsura was first attributed to Teika in the late modern period. In another prose work that he revised steadily throughout his life, the diary he called Meigetsuki, Teika recalls his poetic apprenticeship and sorrow upon facing the deaths of his father in 1204 and of his friend and fellow poet Yoshitsune two years later. The journal additionally records his difficult relationship with Emperor Go-Toba and Teika's self-imposed emotional isolation necessitated by his indefatigable devotion to excellence in matters of poetic composition and aesthetics.
During his lifetime Teika's personal reputation suffered from reports of his arrogant, uncompromising, and contentious manner. His long, sometimes submerged feud with ex-emperor Go-Toba, detailed in his Meigetsuki, is considered a prime example of Teika's haughty defiance toward what he perceived as inferior aesthetic taste. Scholars have observed that these apparent flaws of character nevertheless served Teika effectively throughout his literary career. In response to some of Teika's more experimental works, contemporary poetic rivals denigrated his verse as Darumauta (“poems of Zen gibberish”), referring to the often inscrutable maxims and stories of the Daruma, a Zen Buddhist sect. Such disparagement was largely ineffectual, however, and Teika ascended to become the supreme arbiter of Japanese poetic doctrine in his later years. Within a few generations, Teika, in the words of Robert H. Brower, had “been virtually deified by his descendents, who cast his influence over the entire course of classical poetry for more than six hundred years after his death.” Teika also became a figure of Japanese literary lore. Legends of his life were disseminated, including the story of his unlikely romantic involvement with the daughter of Emperor Go-Shirakawa, which forms the narrative core of the fifteenth-century Nō drama Teika. Teika's poetry was widely admired and imitated in the ensuing centuries, while his Superior Poems of Our Time and other critical writings were praised for their consummate skill and insight. Despite a rather precipitous drop in Teika's formerly unassailable literary reputation during the Edo period and into the twentieth century, his writings continue to draw the attention of contemporary scholars in Japan and elsewhere. Detractors observe that the lingering value of the Superior Poems of Our Time and similar works is principally historical and biographical, reflecting Teika's personal tastes rather than a substantial advance in the theory of poetic composition. Nevertheless, many modern critics have urged that with his anthologies Teika succeeded in producing new and unique works of literature, each possessing their own fully integrated literary merit, thus reinvigorating the staid tradition of waka verse in the early thirteenth century. Overall, Teika's significance to the development of classical Japanese poetic tradition remains beyond question, and his influence is unsurpassed by that of any other poet of pre-modern Japan.
Wakeikazuchi no yashiro uta awase [with Fujiwara no Shunzei, Fujiwara no Takanobu, Jakuren, Shun'e, and others] (poetry) 1178
Meigetsuki (diary) 1180-c. 1235
Shogaku hyakushu (poetry) 1181
Futaminoura hyakushu [with Fujiwara no Ietaka, Jakuren, Jien, and others] (poetry) 1186
Inpumon'in no taifu hyakushu [with Ietaka, Jakuren, Takanobu, and others] (poetry) 1187
Ichiji hyakushu (poetry) 1190
Ikku hyakushu (poetry) 1190
Kagetsu hyakushu [with Fujiwara no (Kujō) Yoshitsune, Rokujō Arriie, Jakuren, Jien, and others] (poetry) 1190
Matsura no miya monogatari (fiction) c. 1190
Iroha yonyu shichishu (poetry) 1191
Roppayakuban uta-awase [with Ietaka, Jakuren, Jien, Rokujō Kenshō, Yoshitsune, and others] (poetry) 1193
Omura gojisshu [with Ietaka, Shukaku Hosshinnō, Shunzei, and others] (poetry) 1198
Shōji hyakushu [The Little Treasury of One Hundred People, One Poem Each] [with Go-Toba, Shikishi Naishinnō, Shunzei, Yoshitsune, and others] (poetry) 1200
Minase tsuridono tōza rokushu utaawase [with Go-Toba] (poetry) 1202
Minasedono koi jugoshu utaawase [with Asukai Masatsune, Go-Toba, Ietaka,...
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SOURCE: Dickens, F. V. Preface to Hyak Nin Is'shiu or Stanzas by a Century of Poets, Being Japanese Lyrical Odes, translated by F. V. Dickens, pp. v-ix. London: Smith, Elder, & Co, 1866.
[In the following excerpted preface to his translation of Japanese lyrical odes, Dickens describes the nature of these short poems first compiled by Fujiwara no Teika.]
The Odes [of the Hyak Nin Is'-shiu] are all of a peaceful character, some didactic, some descriptive, and many amatory. Very often the point of the ode lies in a play upon words, very telling in the original, but seldom capable of adequate rendering into English. The most ancient of them seem to have an antiquity of one thousand years, and the most modern of at least six hundred. Each ode has, on an average, thirty characters or syllables; sometimes one or two more when the sounds of these combine with the sounds of adjacent characters; and nothing in the nature of rhyme can be detected in them. They are always read in a somewhat monotonous singing falsetto, with scarcely any accentation or emphasis, being, as it were, a mere slow recapitulation of the syllables composing them.
They are written in the old Yamato language, free from any intermixture of Chinese derivatives, a very noble and harmonious tongue, but much disfigured now by the introduction of such ill-sounding Sinico-Japanese syllables as rets', bats', mats',...
(The entire section is 435 words.)
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SOURCE: Brower, Robert H. Introduction to Fujiwara Teika's ‘Hundred-Poem Sequence of the Shoji Era,’ 1200, translated by Robert H. Brower, pp. 1-32. Tokyo: Sophia University, 1978.
[In the following excerpt from his introduction to his translation of Teika's Shoji hyakushu, Brower examines the historical background and content of this varied and influential hundred-poem sequence.]
The great Japanese classical poet and critic Fujiwara no Sadaie, or Teika (1162-1241), is best known to popular history for his little anthology of thirty-one-syllable poems called Hyakunin isshu, ‘One Hundred Poems by One Hundred Poets’. Even today, this collection is memorized by most cultured Japanese, if only because a literary card game played during the New Year season is based upon it. More important, the Hyakunin isshu has for the past three hundred years and more been the chief vehicle by which the Japanese have come to learn something of their native tradition of classical poetry, and so closely is Teika identified in the popular mind with this anthology (and often little else), that I may perhaps be forgiven this rather peculiar way of beginning: namely, by stressing that the collection presented here is an entirely different work.
The Hundred-Poem Sequence of the Shōji Era, or Shōji hyakushu—the set of a hundred poems...
(The entire section is 10012 words.)
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SOURCE: Brower, Robert H. “Fujiwara Teika's Maigetsusho.” Monumenta Nipponica 40, no. 4 (winter 1985): 399-425.
[In the following essay, Brower recounts the manuscript history of Teika's critical treatise Maigetsusho and encapsulates the principles of poetic composition it contains.]
The single most influential figure in the history of Japanese classical poetry, Fujiwara Teika (or Sadaie), 1162-1241, was the supreme arbiter of poetry in his own day, and for centuries after his death was held in religious veneration by waka and renga poets alike. Teika's unique reputation rested in part upon his accomplishment as the leading figure among the many fine poets of the Shinkokin Jidai, the period of fifty-odd years in the late twelfth and early thirteenth centuries when revival and innovation in the native poetry were exemplified in Shinkokinshū, ca. 1204, the eighth, and in many respects the greatest, of the imperially sponsored anthologies of classical verse. As one of the six compilers of this anthology, and with forty-six of his poems included in it, Teika stood at the forefront of the younger and more innovative poets of his day, and his various experiments with diction, rhetoric, and figurative language, as well as with new styles, modes, and aesthetic effects, were widely imitated by his contemporaries. After his death, his quarreling descendants were recognized...
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SOURCE: Sato, Hiroaki. “From Format Composition of Tanka to the Creation of the Renga Form.” Journal of the Association of Teachers of Japanese 21, no. 2 (November 1987): 149-64.
[In the following essay, Sato traces Teika's contribution to the tradition of composing long sequences of tanka (or waka) poetry, the forerunner of the later renga form.]
In the following argument, the tanka, “short song,” is a 5/7/5/7/7/syllable poetic form, which came into being during the seventh century at the latest and has remained in use ever since. Early on it became the predominant verseform for court poets. English translators usually regard the tanka as a five-line poem because it consists of five syllabic units but Japanese poets and scholars take it to be a one-line poem.
The renga, “linked song,” is the group-oriented verseform which came into being as a result of the tendency of the tanka to break up into the upper hemistich of 5/7/5/syllables and the lower hemistich of 7/7/ syllables. Initially a tanka composed by two persons, one hemistich by one hand, the other by another, the renga eventually grew into a sequential form of 100 alternating hemistiches or units (equal to 50 tanka) with extraordinarily complex rules, at times composed by a dozen poets.
By some unaccountable academic habit, Japanese scholars seem to annotate certain...
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SOURCE: Bundy, Roselee. “Poetic Apprenticeship: Fujiwara Teika's Shogaku Hyakushu.” Monumenta Nipponica 45, no. 2 (summer 1990): 157-88.
[In the following essay, Bundy evaluates the poetry of Teika's early collection Shogaku hyakushu, contrasting it with the verse of his father, Fujiwara no Shunzei, and pointing out the significance of Teika's manipulation of imagery rather than his cultivation of an emotionally compelling lyrical voice in this work.]
In the Fourth Month of 1181 Fujiwara Teika, 1162-1241, then aged twenty, composed his first hundred-poem sequence, Shogaku Hyakushu. Teika had made his public debut as a poet in Wakeikazuchi-sha Uta-awase in the Third Month of 1178, and Shogaku Hyakushu signaled his mastery of that other vehicle of formal poetry, the writing of poem sequences. Both the poetry contest and the poem sequence required the poet to contend with the complexities of composition on topics and issues of decorum and poetic precedents, without a knowledge of which no court poet could practice. With the exception of a figure such as Saigyō, 1118-1190, who worked outside of court circles, to be a poet in the twelfth century was to compose the formal poetry of uta-awase and poem sequences. In Wakeikazuchi-sha Uta-awase, judged by his father Fujiwara Shunzei, 1114-1204, Teika had been called upon to submit only three poems, one on each...
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SOURCE: Lammers, Wayne P. “Fujiwara Teika and Matsura no Miya Monogatari.” In ‘The Tale of Matsura’: Fujiwara Teika's Experiment in Fiction, translated by Wayne P. Lammers, pp. 3-26. Ann Arbor: University of Michigan Center for Japanese Studies, 1992.
[In the following excerpt, Lammers asserts Teika's authorship of Matsura no miya monogatari (The Tale of Matsura) and summarizes the work's story and stylistic features.]
Matsura no miya monogatari (The Tale of Matsura, ca. 1190) is a classical Japanese tale or romance that belongs to the same category of courtly fiction as Murasaki Shikibu's unsurpassed masterpiece, Genji monogatari (“The Tale of Genji,” ca. 1010). When compared with most of the best-known works of its genre, however, Matsura no miya monogatari stands out in striking contrast: Whereas the typical monogatari is set in the Heian period (794-1185) and in the Japanese capital of that time, Matsura no miya monogatari is set in the period before Japan's first “permanent” capital was established at present-day Nara in 710, and most of its action takes place in China. Whereas the typical monogatari centers almost entirely on affairs of the heart between men and women, nearly half of Matsura no miya monogatari is devoted to politics and government, including a violent succession struggle with armies marching...
(The entire section is 11379 words.)
SOURCE: Bialock, David T. “Voice, Text, and the Question of Poetic Borrowing in Late Classical Japanese Poetry.” Harvard Journal of Asiatic Studies 54, no. 1 (1994): 181-231.
[In the following excerpt, Bialock studies Teika's influential concept of honkadori (“allusive variation”) in the context of the development of late classical Japanese poetry.]
It can be said, without risk of exaggeration, that the early medieval poet Fujiwara no Teika (1162-1241) is largely responsible for how scholars and students of classical Japanese literature read waka even today. Indeed, so disposed are we to seek out pre-texts for a particular waka—sometimes quite mistakenly for waka composed prior to Teika's own time—that it is easy to lose sight of just how paradoxical Teika's central achievement was: the constructing of an entire poetics around a technique of borrowing known as honkadori, when in fact the traditional poetic discourse of his day already incorporated and continued to sustain an enormous amount of repetitive phraseology. From our present vantage-point in time, Teika appears to have merely legitimized what was already an age-old practice of borrowing from older poems. The questions that I wish to address in this paper, then, are three. What distinguishes Teika's manner of borrowing from these earlier kinds of apparent borrowing? What were the changes in the institution of...
(The entire section is 9973 words.)
SOURCE: Kamens, Edward. “Waking the Dead: Fujiwara no Teika's Sotoba kuyo Poems.” Journal of Japanese Studies 28, no. 2 (summer 2002): 379-403.
[In the following essay, Kamens offers an interpretive analysis of ten memorial waka from Teika's Shui guso collection, concentrating on the allusive intertextuality of these works.]
Most Japanese poems (yamoto uta, waka) have their seeds in Japanese poems and are likely to flower forth as still more Japanese poems. When Japanese poets compose waka, those acts of production—like those of other poets in other cultures—are enabled as well as constrained by the poem-composing acts of their antecedents. Whether this condition is demonstrated or acknowledged, or one of which the poem-producer is even partially or fully aware, it is nevertheless in force in the making of the poem itself and definitive of the poem-composing act. Thus, virtually every poem in the Japanese corpus is an inscription over another or other previous inscriptions, and it creates or extends the ground over which still more poems may be inscribed. This is another feature “Japanese poetry” shares with all other poetries and many other kinds of writing.
Articulators and advocates of an ideology of Japanese poetry have advanced and celebrated for more than a millennium the tautological notion that Japanese poetry is what it is because...
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Brower, Robert H., and Earl Miner. Introduction to Fujiwara Teika's ‘Superior Poems of Our Time’: A Thirteenth-Century Poetic Treatise and Sequence, translated by Robert H. Brower and Earl Miner, pp. 3-37. Stanford, Calif.: Stanford University Press, 1967.
Survey Teika's life and literary career before evaluating his critical preface to and compilation of the poetic anthology Kindai shuka (Superior Poems of Our Time).
Galt, Tom. Introduction to The Little Treasury of One Hundred People, One Poem Each, Compiled by Fujiwara no Sadaie (1162-1241), translated by Tom Galt., pp. xi-xii. Princeton, N.J.: Princeton University Press, 1982.
Brief introduction to Teika's most famous poetic compilation, known to nearly all educated Japanese because of its relationship to a popular literary card game.
Smits, Ivo. “The Poet and the Politician: Teika and the Compilation of the Shinchokusenshu.” Monumenta Nipponica 53, no. 4 (winter 1998): 427-72.
Probes the political and historical contexts of Teika's compilation of the Shinchokusenshu (1232), the ninth imperial anthology of Japanese verse.
Additional coverage of Teika's life and career is contained in the following source published by Thomson Gale: Dictionary of Literary Biography, Vol. 203;...
(The entire section is 181 words.)