By Anne Commons
Kakinomoto no Hitomaro (fl. ca. 690) is mostly considered as one of many pre-eminent poets of premodern Japan. whereas so much current scholarship on Hitomaro is anxious together with his poetry, this learn foregrounds the method of his reception and canonization as a deity of eastern poetry. construction on new curiosity in problems with canon formation in premodern jap literature, this booklet lines the reception background of Hitomaro from its earliest beginnings to the early glossy interval, documenting and analysing the levels of the method by which Hitomaro was once remodeled from an widespread poet to a poetic deity. the result's a brand new point of view on a well-recognized literary determine via his placement in the broader context of jap poetic tradition.
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Extra info for Hitomaro: Poet as God (Brill's Japanese Studies Library)
42 Itō, “Iwami sōmonka no kōzō,” 298. hitomaro and the MAN’YŌSHŪ 25 well. The poems-as-performance theory also breaks down the distinction that is often drawn in discussions of Hitomaro’s poetry between the obviously public and the ostensibly private poems, as even poetry with what appears to be intensely personal content—such as the Iwami sōmonka—could have been publicly presented. As can be seen in the case of the Iwami poems, the role that the apparently private poems plays in Hitomaro’s reception is significant in that they are the texts through which attempts are made to discern the details of his personal life.
Significant editorial attention is paid to Hitomaro in the third imperially commissioned poetry anthology, Shūiwakashū (Collection of Gleanings of Japanese Poetry, 1007), in which he is presented as a traveler and exile. This can be seen as a continuation of Hitomaro’s treatment in the Man’yōshū, but may also be understood in the context of poems composed by envoys to the continent and in relation to the archetypal narrative of “the exiled noble” (kishu ryūritan), a trope which is found in prominent Heian texts such as Genji monogatari (The Tale of Genji) and Ise monogatari (Tales of Ise).
Ca. 724–736) as the poets referred to by sanshi no mon. 81 The influence of Ki no Tsurayuki’s (c. 868–c. 82 However, similar—though not identical—phrases found in Chinese sources seem to refer to two people, identified by the first character of their names, rather than one. –217), found in the Six Dynasties poetic treatise Shipin (Classification of Poems), by Zhong Hong (fl. ca. 83 Ikenushi’s comparison of Yakamochi’s poetic talents to those of Pan Yue and Lu Ji (in the preface to XVII:3973) seems to be based on a phrase 80 Ono Hiroshi, “Sanshi no mon,” in Jōdai bungaku kenkyū jiten, ed.